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enRomantic Pedagogy Commonshttp://www.rc.umd.edu/pedagogies/commons/index.html
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<div class="descbig">The Romantic Circles
<span class="boldblue">Pedagogy Commons</span> is a peer-reviewed online journal dedicated to the presentation of essays about teaching that offer sample teaching materials as well, from printable handouts to "digital-born" teaching materials.</div> </div>
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<h3><span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2016-12-01T00:00:00-05:00">December 2016</span></h3>
<div class="views-row views-row-1 views-row-odd views-row-first views-row-last">
<div class="views-field views-field-title"> <span class="field-content"><a href="/pedagogies/commons/teaching_romanticism">Teaching Romanticism and Literary Theory</a></span> </div>
<div class="views-field views-field-field-ped-icon"> <div class="field-content"><a href="/pedagogies/commons/teaching_romanticism"><img typeof="foaf:Image" class="image-style-100px-ped-icon" src="http://www.rc.umd.edu/sites/default/files/styles/100px_ped_icon/public/teaching-romanticism-icon_0.jpg?itok=NHCmMI7I" width="100" height="100" alt="" /></a></div> </div>
<div class="views-field views-field-body"> <div class="field-content"><p>These essays reflect on the ways contributors integrate literary theory into their teaching of Romanticism and reflect on the continued importance of literary theory to Romanticism and the work of Romanticists. Collectively the essays broach a range of questions, but perhaps most importantly: why teach Romanticism and literary theory today? How does teaching Romanticism with literary theory alter our ideas of both?</p></div> </div>
<div class="views-field views-field-view attribution"> <span class="views-label views-label-view">Edited by: </span> <span class="field-content"><div class="view view-contributor-names-landing-pages view-id-contributor_names_landing_pages view-display-id-block_1 view-dom-id-cf40e4c9024463e2c650dcfdb8e23056">
<div class="view-content">
<div>
<a href="/person/mcgrath-brian">Brian McGrath</a> </div>
</div>
</div></span> </div> </div>
<h3><span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2016-07-01T00:00:00-04:00">July 2016</span></h3>
<div class="views-row views-row-1 views-row-odd views-row-first views-row-last">
<div class="views-field views-field-title"> <span class="field-content"><a href="/pedagogies/commons/pedagogical_blake">William Blake and Pedagogy</a></span> </div>
<div class="views-field views-field-field-ped-icon"> <div class="field-content"><a href="/pedagogies/commons/pedagogical_blake"><img typeof="foaf:Image" class="image-style-100px-ped-icon" src="http://www.rc.umd.edu/sites/default/files/styles/100px_ped_icon/public/icon_21.jpg?itok=Aiw3juin" width="100" height="100" alt="" /></a></div> </div>
<div class="views-field views-field-body"> <div class="field-content"><p>The present <em>Romantic Circles Pedagogies</em> volume intervenes in the notion that pedagogy is of a secondary concern to Blake scholars by showing how William Blake&rsquo;s work can invigorate the classroom. &nbsp;Contributors use Blake&rsquo;s inspiration to create new teaching methodologies, propose new assignments, engage new public audiences, and critically explore the emergence of new technological modalities. &nbsp;Famously difficult, Blake nevertheless constructs crucial dialogues in fields from the digital humanities to manuscript history and affect theory. &nbsp;This volume shows how teachers can take advantage of his holistic approach to pedagogy&mdash;his insistence that teaching is entangled with every part of our lives&mdash;to contest standard approaches to Blake in the literature classroom.</p></div> </div>
<div class="views-field views-field-view attribution"> <span class="views-label views-label-view">Edited by: </span> <span class="field-content"><div class="view view-contributor-names-landing-pages view-id-contributor_names_landing_pages view-display-id-block_1 view-dom-id-84ba45853f451748352fc95f02026781">
<div class="view-content">
<div>
<a href="/person/whitson-roger">Roger Whitson</a> </div>
<div>
<a href="/person/burkett-andrew">Andrew Burkett</a> </div>
</div>
</div></span> </div> </div>
<h3><span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2016-05-01T00:00:00-04:00">May 2016</span></h3>
<div class="views-row views-row-1 views-row-odd views-row-first views-row-last">
<div class="views-field views-field-title"> <span class="field-content"><a href="/pedagogies/commons/romantic_education">Romantic Education: Romantic Pedagogies and New Approaches to Teaching Romanticism</a></span> </div>
<div class="views-field views-field-field-ped-icon"> <div class="field-content"><a href="/pedagogies/commons/romantic_education"><img typeof="foaf:Image" class="image-style-100px-ped-icon" src="http://www.rc.umd.edu/sites/default/files/styles/100px_ped_icon/public/icon_18.jpg?itok=fnqQHbyl" width="100" height="100" alt="" /></a></div> </div>
<div class="views-field views-field-body"> <div class="field-content">These essays offer diverse ways of thinking about the intersections of Romanticism and pedagogy: both what Romantic-era figures themselves thought about the processes of learning and teaching and also what we as modern educators might consider as we present these texts and figures to our students. It is our hope that they will contribute to ongoing conversations among scholars and teachers of Romanticism about the history and future of humanities education, and in particular will foster cross-historical conversations.</div> </div>
<div class="views-field views-field-view attribution"> <span class="views-label views-label-view">Edited by: </span> <span class="field-content"><div class="view view-contributor-names-landing-pages view-id-contributor_names_landing_pages view-display-id-block_1 view-dom-id-ead23d09879f1ee807c9915389307b8a">
<div class="view-content">
<div>
<a href="/person/gustafson-katherine-bennett">Katherine Bennett Gustafson</a> </div>
<div>
<a href="/person/barnett-suzanne-l">Suzanne L. Barnett</a> </div>
</div>
</div></span> </div> </div>
<h3><span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2015-04-01T00:00:00-04:00">April 2015</span></h3>
<div class="views-row views-row-1 views-row-odd views-row-first views-row-last">
<div class="views-field views-field-title"> <span class="field-content"><a href="/pedagogies/commons/austen">Teaching Jane Austen</a></span> </div>
<div class="views-field views-field-field-ped-icon"> <div class="field-content"><a href="/pedagogies/commons/austen"><img typeof="foaf:Image" class="image-style-100px-ped-icon" src="http://www.rc.umd.edu/sites/default/files/styles/100px_ped_icon/public/icon_11.jpg?itok=amnTwa8X" width="100" height="100" alt="" /></a></div> </div>
<div class="views-field views-field-body"> <div class="field-content">The essays collected here describe curricular ideas, innovations, and practices that seek to move us beyond simple questions of Austen’s accessibility, relevance, and context. The contributors ask how we might enrich the teaching of Austen’s fiction by seeing her in conversation with manuscript culture, children’s literature, Harry Potter, or Romantic poetry. Collectively, these essays look to what it means to teach Austen in many kinds of classes and classrooms, with differently located learners and with a variety of texts, tools, and assignments.</div> </div>
<div class="views-field views-field-view attribution"> <span class="views-label views-label-view">Edited by: </span> <span class="field-content"><div class="view view-contributor-names-landing-pages view-id-contributor_names_landing_pages view-display-id-block_1 view-dom-id-659e44596c6afa02ef4a5082529c6489">
<div class="view-content">
<div>
<a href="/person/friedman-emily-c">Emily C. Friedman</a> </div>
<div>
<a href="/person/looser-devoney">Devoney Looser</a> </div>
</div>
</div></span> </div> </div>
<h3><span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2014-07-01T00:00:00-04:00">July 2014</span></h3>
<div class="views-row views-row-1 views-row-odd views-row-first views-row-last">
<div class="views-field views-field-title"> <span class="field-content"><a href="/pedagogies/commons/translation">Translation Theory / Pedagogical Practice: Teaching Romantic Translation(s)</a></span> </div>
<div class="views-field views-field-field-ped-icon"> <div class="field-content"><a href="/pedagogies/commons/translation"><img typeof="foaf:Image" class="image-style-100px-ped-icon" src="http://www.rc.umd.edu/sites/default/files/styles/100px_ped_icon/public/translation_icon.jpg?itok=6cbQKWba" width="100" height="100" alt="" /></a></div> </div>
<div class="views-field views-field-body"> <div class="field-content">In recent years, we have witnessed the rapid migration of the field of translation studies from occupying its position as &ldquo;a backwater of the university&rdquo; in the 1990s&mdash;to cite Lawrence Venuti&rsquo;s oft-quoted complaint&mdash;to becoming a central object of scholarly inquiry in literary and cultural studies and beyond. Even as numerous conferences, symposia, and institutes are organized around the topic of translation, course readings in English literature have not yet come to reflect the same transformative impulse. In diverse ways, the scholars collected in this volume make compelling cases for expanding the repertoire of texts worthy of study in English classrooms to include translations, addressing texts by a wide range of authors and translators including Lord Byron, J.W. von Goethe, S.T. Coleridge, P.C. de Laclos, George Eliot, Sei Sh&ocirc;nagon, and Germaine de Sta&euml;l.</div> </div>
<div class="views-field views-field-view attribution"> <span class="views-label views-label-view">Edited by: </span> <span class="field-content"><div class="view view-contributor-names-landing-pages view-id-contributor_names_landing_pages view-display-id-block_1 view-dom-id-09a7bdce1491bd13ca6511d9f745e86b">
<div class="view-content">
<div>
<a href="/person/wharram-cc">C.C. Wharram</a> </div>
</div>
</div></span> </div> </div>
<h3><span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2011-05-01T00:00:00-04:00">May 2011</span></h3>
<div class="views-row views-row-1 views-row-odd views-row-first views-row-last">
<div class="views-field views-field-title"> <span class="field-content"><a href="/pedagogies/commons/theatre">Teaching Romantic Drama</a></span> </div>
<div class="views-field views-field-field-ped-icon"> <div class="field-content"><a href="/pedagogies/commons/theatre"><img typeof="foaf:Image" class="image-style-100px-ped-icon" src="http://www.rc.umd.edu/sites/default/files/styles/100px_ped_icon/public/theatreIcon.jpg?itok=lhXzHUaU" width="100" height="100" alt="" /></a></div> </div>
<div class="views-field views-field-body"> <div class="field-content"><span class="desc">This special issue of
<span class="titles" xmlns="">Romantic Circles Pedagogies</span>
extends a conversation about teaching Romantic drama that has been a part of the larger reevaluation of Romantic-era drama and theatre over the past fifteen years or so. While there have been many scholarly publications, conference panels, and digital and print dramatic publication initiatives to advance work in British theatre and drama studies of the Romantic era, most of the conversation about teaching Romantic drama has been a matter of occasional collegial sharing and listserv posting. It seemed a good time to develop a special issue that would illustrate the many different ways of framing curriculum, working out instructional ideas, and engaging students with British Romantic theatre and drama in ways suited to different programmatic and curricular contexts.</span>
</div> </div>
<div class="views-field views-field-view attribution"> <span class="views-label views-label-view">Edited by: </span> <span class="field-content"><div class="view view-contributor-names-landing-pages view-id-contributor_names_landing_pages view-display-id-block_1 view-dom-id-74f8872eb40aeac7c9ec0832f6a22eea">
<div class="view-content">
<div>
<a href="/person/crochunis-thomas-c">Thomas C. Crochunis</a> </div>
</div>
</div></span> </div> </div>
<h3><span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2008-08-01T00:00:00-04:00">August 2008</span></h3>
<div class="views-row views-row-1 views-row-odd views-row-first views-row-last">
<div class="views-field views-field-title"> <span class="field-content"><a href="/pedagogies/commons/novel/index.html">Novel Prospects: Teaching Romantic-Era Fiction</a></span> </div>
<div class="views-field views-field-field-ped-icon"> <div class="field-content"><a href="/pedagogies/commons/novel/index.html"><img typeof="foaf:Image" class="image-style-100px-ped-icon" src="http://www.rc.umd.edu/sites/default/files/styles/100px_ped_icon/public/button_100_1.jpg?itok=h34JSO0H" width="100" height="100" alt="" /></a></div> </div>
<div class="views-field views-field-body"> <div class="field-content"><span class="desc">This collection explores the challenges of teaching narrative fiction published between 1789 and 1830. These essays engage with the ways in which Romantic-era fiction challenges not just period conventions, but pedagogical practices and undergraduate scholarship. Topics examined include issues raised by teaching "historical" novels to modern students, reading Jane Austen in a time of war, depictions of racialized bodies in reformist fictions, and situating Romantic fictions in place and social contexts. Emphasizing new possibilities for classroom teaching and demonstrating that scholarly pursuits and teaching need not exist in separate spheres, the essays also offer practical approaches to "folding" Romantic-era fiction into existing course projects at the same time that they examine the questions raised by including texts and writers that, until recently, have been largely ignored.</span>
</div> </div>
<div class="views-field views-field-view attribution"> <span class="views-label views-label-view">Edited by: </span> <span class="field-content"><div class="view view-contributor-names-landing-pages view-id-contributor_names_landing_pages view-display-id-block_1 view-dom-id-9e31092c7d10658642786cda2576b43f">
<div class="view-content">
<div>
<a href="/person/wallace-miriam-l">Miriam L. Wallace</a> </div>
<div>
<a href="/person/matthew-patricia">Patricia A. Matthew</a> </div>
</div>
</div></span> </div> </div>
<h3><span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2006-12-01T00:00:00-05:00">December 2006</span></h3>
<div class="views-row views-row-1 views-row-odd views-row-first views-row-last">
<div class="views-field views-field-title"> <span class="field-content"><a href="/pedagogies/commons/ecology/index.html">Romanticism, Ecology and Pedagogy</a></span> </div>
<div class="views-field views-field-field-ped-icon"> <div class="field-content"><a href="/pedagogies/commons/ecology/index.html"><img typeof="foaf:Image" class="image-style-100px-ped-icon" src="http://www.rc.umd.edu/sites/default/files/styles/100px_ped_icon/public/ecologyicon.jpg?itok=rmwyJ_Km" width="100" height="100" alt="" /></a></div> </div>
<div class="views-field views-field-body"> <div class="field-content"><span class="desc">The essays in this collection offer practical ways of improving
students' skills at explicating British literature of the Romantic
period, while helping them to understand Romanticism's contribution to
the history of modern environmentalism. More fundamentally, it is
around the issues of ethical, aesthetic, and economic values that these
essays collectively raise their most important points. All of the
essays are closely engaged with practical aspects of teaching
environmental literature of the Romantic period, and they should prove
useful to both new and experienced teachers in a variety of classroom
settings.</span>
</div> </div>
<div class="views-field views-field-view attribution"> <span class="views-label views-label-view">Edited by: </span> <span class="field-content"><div class="view view-contributor-names-landing-pages view-id-contributor_names_landing_pages view-display-id-block_1 view-dom-id-c0be67b38a10e5b84bd50a154c0bba01">
<div class="view-content">
<div>
<a href="/person/keegan-bridget">Bridget Keegan</a> </div>
<div>
<a href="/person/mckusick-james-c">James C. McKusick</a> </div>
</div>
</div></span> </div> </div>
<h3><span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2004-12-01T00:00:00-05:00">December 2004</span></h3>
<div class="views-row views-row-1 views-row-odd views-row-first views-row-last">
<div class="views-field views-field-title"> <span class="field-content"><a href="/pedagogies/commons/innovations/index.html">Innovations</a></span> </div>
<div class="views-field views-field-field-ped-icon"> <div class="field-content"><a href="/pedagogies/commons/innovations/index.html"><img typeof="foaf:Image" class="image-style-100px-ped-icon" src="http://www.rc.umd.edu/sites/default/files/styles/100px_ped_icon/public/innovationsicon.jpg?itok=6qNYQ8K6" width="100" height="100" alt="" /></a></div> </div>
<div class="views-field views-field-body"> <div class="field-content">This issue contains news about online tools now available for courses in Romanticism,
including an essay by Mark Phillipson on Wikis, two essays by Jerome
McGann and Johanna Drucker on IVANHOE v. 1.0, an interview with Ben
Jacks about the use of poetry in an architecture class, and a more
traditional class on Romantic Ecology, designed by Walter Reed, that
has been infused with new technologies. The issue also contains materials available for use in your
classrooms: audio files for songs penned by Burns, Flash
picture presentations, and online syllabi and assignments that you can
use or download.
</div> </div>
<div class="views-field views-field-view attribution"> <span class="views-label views-label-view">Edited by: </span> <span class="field-content"><div class="view view-contributor-names-landing-pages view-id-contributor_names_landing_pages view-display-id-block_1 view-dom-id-76f2e7e4b36720799db0111c337854e8">
<div class="view-content">
<div>
<a href="/person/mandell-laura">Laura Mandell</a> </div>
</div>
</div></span> </div> </div>
</div>
</div></div>
</div></div></div></div></div><div class="field field-name-field-published field-type-date field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even"><span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2011-05-01T00:00:00-04:00">May 2011</span></div></div></div><section class="field field-name-field-parent-section field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Section:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/node/31530">Pedagogies</a></div></div></section><section class="field field-name-taxonomy-vocabulary-3 field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Tags:&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/taxonomy/term/757" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">pedagogy</a></li><li class="field-item odd"><a href="/taxonomy/term/1472" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">teaching</a></li></ul></section>Fri, 29 Jul 2011 17:30:10 +0000rc-admin22083 at http://www.rc.umd.eduPrefacehttp://www.rc.umd.edu/pedagogies/commons/teaching_romanticism/pedagogies.commons.2016.teaching_romanticism.mcgrath.html
<div class="field field-name-field-published field-type-date field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even"><span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2016-12-01T00:00:00-05:00">December 2016</span></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even" property="content:encoded"><div id="container">
<div class="abstract" id="front.1_div.1">
<p class=" ">Romantic texts have repeatedly played important roles in the
development of what we call literary theory. For instance, all of the essays
collected in the 1979 <em xmlns="">Deconstruction and Criticism</em> volume, which
did so much to announce deconstruction in the United States, were originally
meant to focus on the poetry of P. B. Shelley. In the intervening decades,
Romanticists have often been hired as literary theorists, and so the teaching of
Romanticism has frequently been paired with the teaching of literary theory. For
this special issue of <em xmlns="">Romantic Circles Pedagogy Commons</em> I asked
contributors to reflect on the ways they integrate literary theory into their
teaching of Romanticism and to reflect on the continued importance of literary
theory to Romanticism and the work of Romanticists. I did not define “literary
theory” but left the term open to interpretation. Collectively the essays broach
a range of questions, but perhaps most importantly: why teach Romanticism and
literary theory today? How does teaching Romanticism with literary theory alter
our ideas of both?</p>
</div>
<div class="essay" id="body.1_div.1">
<h3 align="center">Preface</h3>
<p xmlns=""><strong>Brian McGrath</strong><br xmlns="http://www.w3.org/1999/xhtml"><strong>Clemson University</strong></p>
<p xmlns=""><strong></strong><br xmlns="http://www.w3.org/1999/xhtml"><strong></strong></p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" " id="para1"><strong xmlns="http://www.w3.org/1999/xhtml">1</strong>. Romantic texts have repeatedly played important roles in the development of what
we call literary theory. For instance, all of the essays collected in the 1979
<span xmlns="" class="titlem">Deconstruction and Criticism</span> volume, which did so
much to announce deconstruction in the United States, were originally meant to
focus on the poetry of P. B. Shelley. In the intervening decades, Romanticists
have often been hired as literary theorists, and so the teaching of Romanticism
has frequently been paired with the teaching of literary theory. For this
special issue of <span xmlns="" class="titlej">Romantic Circles Pedagogy Commons</span> I
asked contributors to reflect on the ways they integrate literary theory into
their teaching of Romanticism and to reflect on the continued importance of
literary theory to Romanticism and the work of Romanticists. I did not define
“literary theory” but left the term open to interpretation. Collectively the
essays broach a range of questions, but perhaps most importantly: why teach
Romanticism and literary theory today? How does teaching Romanticism with
literary theory alter our ideas of both?</p>
<p class=" " id="para2"><strong>2</strong>. Contributors received their PhDs from departments well known for getting
theoretical (Chicago, Virginia, UC Irvine, and Yale (x2)) and now teach at a
range of institutions, some private, some public, some in the United States,
some abroad. In selecting contributors I was self-consciously interested in
hearing from those who received their PhD after the turn of the century, after
the publication of the first edition of the <span xmlns="" class="titlem">Norton Anthology of
Theory and Criticism</span> (2001) and so after literary theory courses had
become a regular part of departmental curricula. The range of responses tells us
much not only about prevailing definitions of Romanticism and literary theory
but also about collective goals for the teaching of literature today.</p>
<p class=" " id="para3"><strong>3</strong>. To say that contributors received the PhD after the 2001 publication of the
<span xmlns="" class="titlem">Norton Anthology of Theory and Criticism </span>is also to
say that they entered the profession after the most violent decades of the
culture wars, when labels for theoretical positions became hardened (one
strategy among many, one might say, for resisting theory). In reading the essays
I was struck by the degree to which all contributors resist dogmatic claims. In
fact, the essays demonstrate a commitment not to theory per se, and certainly
not to theory as a lens through which to view the literary object, but to
discovering texts (both “theoretical” and “Romantic”) together and anew.
Collectively, contributors are more interested in what works, which texts when
paired draw from each other new interpretations and new insights, than in
claiming allegiance with any particular theoretical position. As Andrew Warren
writes, “I find theory most useful, both in my own thinking and in the
classroom, when it creates the right kinds of resistances to texts and ideas I
have been taking for granted.” </p>
<p class=" " id="para4"><strong>4</strong>. Metonymy and resistance play an important role in several essays in the volume.
In his contribution, David Sigler describes teaching Wordsworth’s “Steamboats,
Viaducts, and Railways” <em xmlns="">alongside</em> a chapter from George Bataille’s
<span xmlns="" class="titlem">Theory of Religion</span>, entitled “The Rise of
Industry.” Reading Bataille alongside Wordsworth is meant to challenge the
available readings of Wordsworth; but similarly, reading Wordsworth alongside
Bataille is meant to challenge students’ interpretations of Bataille. The
theoretical text does not explain the literary one; but neither does the
literary text explain the theoretical one. Ideally, both texts emerge changed
after the pedagogical encounter; such is the point, suggests Sigler, of placing
the texts side by side. In her teaching, Anahid Nersessian self-consciously
embraces the aleatory, producing the chance for unforeseen confluences between
Romantic and theoretical texts: </p>
<div xmlns="http://www.w3.org/1999/xhtml" class="blockquote">One of my goals is to push students
toward a non-instrumental relationship to criticism . . . I
believe we are all fatigued by studies promising to give an interpretation
of some poem or novel through one “angle” at a time, Morris Zapp-style. This
sort of pedantic relationship to theory, or to the more constrained genre of
criticism, is one current students should consider it their historical
privilege to reject.</div> In many of the essays collected here, “theory”
describes less a critical position than a shared openness to discovering texts
together in new constellations of reference and signification. For some, this
commitment to discovery might seem yet another strategy for resisting theory, as
theory recedes from critical view (especially when so explicitly replaced by
“method” in Nersessian’s essay). For others, such a commitment to discovering
texts in constellations of reference and signification may simply be one theoretical position
among many, if unclaimed.
<p class=" " id="para5"><strong>5</strong>. What is meant by “theory” here, other than a loose set of texts and proper names?
In “Nothing Fails Like Success,” Barbara Johnson concludes that </p>
<div class="blockquote">if the
deconstructive impulse is to retain its vital, subversive power, we must
. . . become ignorant of it again and again. It is only by
forgetting what we know how to do, by setting aside the thoughts that have
most changed us, that those thoughts and that knowledge can go on making
accessible to us the surprise of an otherness we can only encounter in the
moment of suddenly discovering we are ignorant of it. (16)</div> Efforts
to transform deconstruction into a set of rule bound procedures must be
resisted, argues Johnson. Collectively, it seems to me, the essays in <span xmlns="" class="titlej">Teaching Romanticism and Literary Theory</span> explore a similar
paradox with respect to theory (deconstruction has often been code for theory).
Perhaps we must become ignorant of theory too, again and again, if the term is
to retain vital and subversive force, especially as each “theory” (formalism,
deconstruction, Marxism, feminism, etc.) is reduced to a discrete set of
critical procedures. As the courses described in contributions to this volume
show, “forgetting theory” does not mean not reading texts we call theoretical.
It may just mean reading theory as literature, as still capable of producing
surprise. The essays collected here share a commitment to surprise (both for
students and teachers). “Teaching,” then, is not the transmission of information
but a shared encounter with texts.
<p class=" " id="para6"><strong>6</strong>. Essays by Emily Sun and Eric Lindstrom stage this question about the literariness
of theory most explicitly. Sun does not place importance on teaching
Wordsworth’s poem alongside a theoretical text, though the fact that Sun has
read William Empson, Paul de Man, and Edward Said certainly informs her class
design and preparation. Sun’s interest is in discovering the words of
Wordsworth’s poem anew and in competing contexts. Teaching in English in Taiwan,
Sun explains how the attempt to read Wordsworth’s “sense” in “Tintern Abbey”
affected her students’ understanding of the Chinese phrase for senses,
<span class="foreign"><em>wuguan</em></span>. Drawing on de Man’s “The Return to Philology” Sun
reminds us that theory emerges from the deceptively simple (or perhaps
deceptively difficult?) effort to read just what is on the page. Pairing
literary and theoretical texts may, likewise, demonstrate a desire to cut
through received or practiced opinion and, however impossible an effort, get to
the words themselves and the questions they raise. In his contribution, Eric
Lindstrom reminds readers that literature (or the literary) is one name among
many for the gap between object and interpretation, between theory and
method.</p>
<p class=" " id="para7"><strong>7</strong>. All five essays move past “discovering” literary theoretical pronouncements
buried within Romantic texts, as if one buried a bone just so one could have the
pleasure of digging it up again. In response to definitions of Romanticism
aligned with an aesthetic purposelessness, Warren in “The Uses and Abuses of
Theory (for Life)” moves from Alain Badiou back to German Idealism to ask how
Romanticism can or should be instrumentalized to get students to think
differently about our most familiar definitions of Romanticism. In “The Intimacy
of Infrastructure: Teaching Wordsworth with Bataille,” Sigler shows how reading
Bataille alongside Wordsworth allows Wordsworth’s nuanced thinking about
capitalist ideology in a poem like “Steamboats, Viaducts, and Railways” to
emerge: “When read in combination, Bataille and Wordsworth show how poetic
devices present an occasion for radically rethinking subjectivity in an
industrial world.” In “Dissensus in Two Registers: Tintern Abbey in Taiwan,” Sun
shows the continued importance of philology to our thinking about Romantic poems
in historical and contemporary cultural contexts. Sun describes the experience
of teaching Wordsworth in Taiwan and demonstrates the continued importance of
poetry to “getting theoretical,” as Sun’s Taiwanese students found themselves
estranged from their own language and culture by virtue of the encounter with
Wordsworth’s poem. Lindstrom simultaneously moves us beyond the traditional
canon of British Romanticism to the writing of Robert Frost and moves us back to
thinking about the priority of poetry and poetic thinking, not only to our
conceptions of Romanticism but also to literary theory. Lindstrom reminds us
that how we read is too often preconditioned by our assumptions about what we
are reading, and teaching Romanticism and literary theory stretches those
assumptions about what makes a lyric poem or a theoretical text. Nersessian
calls for thinking of Romanticism not as theory but as method: “replacing theory
with method means making Romanticism useful.” Nersessian challenges readers to
think about how encounters between Romanticism and literary theory enable new
forms of poetic making. With tremendous style and intellectual rigor, each of
these short essays shows how discovering Romantic and literary theoretical texts
together allows one to discover these texts anew. </p>
</div>
<div class="citations" id="body.1_div.2">
<h3 align="center">Works Cited</h3>
<p class="hang">Johnson, Barbara. <span xmlns="" class="titlem">A World of Difference</span>. Baltimore,
MD: Johns Hopkins UP, 1987. Print.</p>
</div>
</div></div></div></div><section class="field field-name-field-parent-section field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Section:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/node/31530">Pedagogies</a></div></div></section><section class="field field-name-field-resource-index field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Resource:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/pedagogies/commons/teaching_romanticism">Teaching Romanticism and Literary Theory</a></div></div></section><section class="field field-name-field-authored-by-secondary- field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Authored by (Secondary):&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/person/mcgrath-brian">McGrath, Brian</a></div></div></section><section class="field field-name-taxonomy-vocabulary-3 field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Tags:&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/category/tags/romanticism" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">romanticism</a></li><li class="field-item odd"><a href="/taxonomy/term/3461" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">theory</a></li><li class="field-item even"><a href="/taxonomy/term/757" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">pedagogy</a></li></ul></section><section class="field field-name-field-xml-tei field-type-link-field field-label-above view-mode-fulltext"><h2 class="field-label">XML:TEI:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="http://www.rc.umd.edu/sites/default/files/imported/pedagogies/commons/teaching_romanticism/pedagogies.commons.2016.teaching_romanticism.mcgrath.xml" target="_blank" class="teiButton">XML : TEI</a></div></div></section>Fri, 25 Nov 2016 15:21:34 +0000rc-admin120571 at http://www.rc.umd.eduTeaching Romanticism, Poetics, and Lyric Theoryhttp://www.rc.umd.edu/pedagogies/commons/teaching_romanticism/pedagogies.commons.2016.teaching_romanticism.lindstrom.html
<div class="field field-name-field-published field-type-date field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even"><span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2016-12-01T00:00:00-05:00">December 2016</span></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even" property="content:encoded"><div id="container">
<div class="abstract" id="front.1_div.1">
<p class=" ">Cumbersome terminology aside, this essay demonstrates the use and
interest of teaching the debated concept of lyric ontology in the Romantic
Poetry classroom across undergraduate and graduate levels. It moves from a
narrative introduction on Robert Frost's very material practice of "lyric
overhearing" on his Derry, New Hampshire party-phone line, to extended
consideration of the recent scholarly turn to historical poetics in the study of
nineteenth century British and American Poetry. I discuss Virginia Jackson's
influential and compelling anti-lyric anti-theory——Jackson's version of the
resistance to theory——as it presents a teachable conflict with the Romantic
"literary absolute." The essay ends by reconsidering the metonymic linkage
between the position of Romanticism and the position of poetry/ literature/ the
Humanities in the institution of the contemporary university, and with brief
suggestions for lesson plan ideas and student readings. (Post-production note:
contemporary American poet Ben Lerner's <em xmlns="">The Hatred of Poetry</em>
[Farrar, Straus and Giroux, 2016] makes for a timely addition to the essay's
bibliographic suggestions and also may impart something like a critical mass to
the essay's approach to teaching in the rift between poetic ontology and
historical poetics.)</p>
</div>
<div class="essay" id="body.1_div.1">
<h3 align="center">Teaching Romanticism, Poetics, and Lyric Theory</h3>
<p xmlns=""><strong>Eric Lindstrom</strong><br xmlns="http://www.w3.org/1999/xhtml"><strong>University of Vermont</strong></p>
<p xmlns=""><strong></strong><br xmlns="http://www.w3.org/1999/xhtml"><strong></strong></p>
<div xmlns="http://www.w3.org/1999/xhtml" class="section" id="body.1_div.1_div.1">
<p xmlns="http://www.w3.org/1999/xhtml" class=" " id="para1"><strong>1</strong>. On a recent car trip to the Boston area for an academic conference, I stopped
off at the Robert Frost Farm in Derry, New Hampshire, a visit I had been
meaning to make for a long time, since moving to Frost’s “other” New England
home state of Vermont. At one point early in the tour, our small group was
standing in the kitchen of the home, in which Frost and his young family had
lived from 1900-1911. We saw the striking red wallpaper (which Rob
“romantically” thought perfect for Christmas, our tour guide said); the
handsome large stove worth a local shoe factory worker’s year’s pay; the
soapstone farmhouse sink that had been improbably salvaged from the back
pasture after it was converted to the “Frosty Acres” automobile junkyard in
the 1950s and ’60s, and only authenticated because Elinor Frost’s knives had
been sharpened on the front apron; and then we were directed toward the far
wall with a telephone. Though the chronology suggests a time too early for a
phone in regular domestic use, our guide informed the group that Frost’s
daughter Lesley, as a consultant to the heritage site, had told a story
about the poet that dictated there should be one. The phone was part of his
vocation. Robert Frost apparently often listened in secretly to the
telephone conversations of neighbors on the party line around Derry. When
exhorted by his wife or daughter to stop eavesdropping, he is claimed to
have replied: “Don’t bother me, I’m working.”<a href="#1"> [1]</a><a name="back1"> </a></p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" " id="para2"><strong>2</strong>. The joke (if that is what this is) resonates because it captures a lot of
Frost’s character and several of the recurrent ingredients of his famous
persona. On the private side one might include his position as the ultimate
insider-outsider in the New England community and his role as an
often-severe patriarchal family head. On the better-known and beloved public
side are his georgic conflation of languid ease and hard “work”; his magical
“folksy” touch with the quick reply; and not least, his devilish initiative
as an artist-tactician. If Frost’s poetry invites the reader in via its
surface of familiarity and offerings of countrified wisdom, only to toy with
and trap him or her in metaphysical plights, this story (were we those
neighbors!) presents a Frost who is unnervingly near and
<em xmlns="">un</em>invited. </p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" " id="para3"><strong>3</strong>. But for my aims in the context of this short essay, the thrust of the
anecdote should be directed straight to its analytical purchase on a long
Romantic and modern trajectory of lyric poetry’s interpretive creation.
Virginia Jackson characterizes this history as one of enabling confusion in
her entry on “LYRIC” for the (2012) fourth edition of the <span xmlns="" class="titlem">Princeton Encyclopedia of Poetry and Poetics</span>: </p>
<div xmlns="http://www.w3.org/1999/xhtml" class="blockquote">A
persistent confusion—among verse genres, between historical genres and
natural ‘forms,’ between adjective and noun, between cognitive and
affective registers, between grammar and rhet. [rhetoric], between
privacy and publicity, and among various ideas about poetry—may be the
best way to define our current sense of the lyric. It is a confusion
that has proven enormously generative for both poets and critics. (826)
</div> One reason why it remains vitally important to debate and teach the
theory of Romanticism, even in these widely proclaimed post-theoretical days
in the humanities, is due to the surreptitious depth of a circular
corroboration between interpretive “criticism” and poetic making. For
Lacoue-Labarthe and Nancy in <span xmlns="" class="titlem">The Literary Absolute</span>,
the post-Kantian Romantic enterprise of critique/creation reflects an
“inauguration of the <em xmlns="">theoretical</em> project in literature” (2);
and “the theoretical Romanticism of Jena characterized itself as the
<em xmlns="">critical</em> question of literature” (5). The interposition of
“theory” between the literary object and hermeneutics comprises the
inaugural moment of Literature according to Lacoue-Labarthe and Nancy—thus
scrambling the notions of “literary object” and interpretive “hermeneutics”
as stable entities and prior operations in themselves, in the name of the
radically mixed project of Romanticism. Especially when we think that
creation and explication form a complete pair requiring no subtractive
third, theory will be as urgently needed as it is resisted.<a xmlns="http://www.w3.org/1999/xhtml" href="#2"> [2]</a><a name="back2"> </a> Hence it was not only
pedagogically approachable, but theoretically telling, for Jonathan Culler
to recruit a short lyric by Frost (“Spring Pools”) as the occasion of his
2008 <span xmlns="" class="titlem">PMLA</span> Roundtable essay on how “it is deadly for
poetry to try to compete with narrative” once “narrative has become the norm
of literature.”<a xmlns="http://www.w3.org/1999/xhtml" href="#3"> [3]</a><a name="back3"> </a> Frost’s repertoire performs Culler’s
definitional sense of lyric extravagance—involving the genre’s signature
moves of apostrophe, ghostly deictic gestures, allusions, ritualistic
repetitions, etc.—while at the same time his inclusion in such a venture
implicitly widens the domain of theory into the territory of perhaps
<em xmlns="">the</em> poet least hospitable to theoretical intonation.
<p xmlns="http://www.w3.org/1999/xhtml" class=" " id="para4"><strong>4</strong>. In her 2005 book <span xmlns="" class="titlem">Dickinson’s Misery</span>, Virginia
Jackson in effect shows how closely the “negative” labor of theoretical
scrutiny can resemble an anti-theory, à la Stanley Fish or Walter Benn
Michaels.<a xmlns="http://www.w3.org/1999/xhtml" href="#4"> [4]</a><a name="back4"> </a> Jackson recasts this
construction of the dual, mutually subtending categories of the poem and
poet as an obfuscating history of “lyric reading” practices dependent on the
rise of institutional print culture. Like pop stars, post-Romantic poets are
almost universally seen as figures whose pretension to that identity
precedes its real achievement; so it is fascinating and fruitfully
problematic to consider examples of major poets such as Dickinson who may
never exactly have willed to be thought poets on the given terms, or their
writings “poems.” My Frost story would appear to bear Virginia Jackson’s
thesis out that “from the mid-nineteenth through the beginning of the
twenty-first century, to be lyric is to be read as lyric” in an arc toward
increasing generic abstraction.<a href="#5"> [5]</a><a name="back5"> </a> In Frost’s case, that
abstraction governs the shift from an “actual” material circuit of telephone
communications (the “sender” and “receiver” lend their roles to modern
linguistic theory as its paradigmatic example of language as a
communicational act), to the figural “music” conjured off a printed page.
Jackson’s book on Emily Dickinson thus presents a challenging, painstaking
brief concerning the widespread disciplinary “lyricization” that over time
has reduced the many richly addressed sub-genres of literary and
non-literary writing into a single, abstract, and overwhelmingly
<em xmlns="">poetic</em> “literariness”; and her core contention about the
discursive framing of “lyric” or “poetic” ontology has basic, if also
complex, implications for our teaching the theory of Romanticism. If the
Jena Circle’s project of Romanticism carries within it an inaugural and
ineradicable theoretical investment, the classificatory model most often
bestowed upon British Romantic poets has leveled social, historical and
artistic differences to the point of nearly erasing the conceptual issues at
stake. </p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" " id="para5"><strong>5</strong>. From one point of view, “Romanticism” in such an account has essentially a
schematic function. As opposed to the Keatsian nightingale and Shelley’s
skylark, Dickinson’s “homely American ‘bobolink’” and her letter-poem
enclosure of a whole dead cricket (Jackson 199, 91) manifestly show the
difference of her archive from the shared, interpretive-cum-creative, norms
of post-Romantic era publication culture.<a href="#6"> [6]</a><a name="back6"> </a> Insofar as these comprise signature
effects of Romantic discourse, the framing conventions of metaphorical lyric
reference and the yearning for disembodiment come in for brilliant
restructuring at the hands of Dickinson (as opposed to the hands of a series
of editors and readers who then render her straight through their
conventional praise). Yet the argument of <span xmlns="" class="titlem">Dickinson’s
Misery</span> is held firmly in place by insisting that we deal
exclusively with the worn normative stereotypes of Romantic idealization:
the pressure is kept squarely on a (very real) disciplinary and popular
mainstream, in an effective though repetitive fashion. Jackson’s many
allusions to Keats are all equally—and almost as problematically—subject to
the miserable ease of pre-interpretation as holds in the case of Emily
Dickinson lyrics.<a xmlns="http://www.w3.org/1999/xhtml" href="#7"> [7]</a><a name="back7"> </a> British Romanticism gives the control group and makes for
the inert argumentative scarecrow of Jackson’s book in this sense; and
neither the concept of Romanticism nor any of the relevant poems themselves
are let free to join the rest of the book’s exhilarating lines of flight. </p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" " id="para6"><strong>6</strong>. But if the fundamental question of <span xmlns="" class="titlem">Dickinson’s
Misery</span> asks how we have come to receive truly outsider textual
<em xmlns="">productions</em> as canonical <em xmlns="">poems</em> always to be
read by a certain light, given the posthumous conditions of poetic fame and
the disciplinary professionalization of literature, then Jackson’s study
bears down powerfully on Romantic coordinates. In his 1979 essay “Shelley
Disfigured,” Paul de Man began by noting the resistance of the Romantic
fragment to such monumentalization, while at the same time he acknowledged
up front that “Shelley’s last poem, is, as is well known, a fragment that
has been unearthed, edited, reconstructed and much discussed”: i.e., it has
served as the occasion of such a monumentalizing impulse nevertheless, and
(short of the text’s total loss) could hardly have eventuated in anything
else. Romanticism is thus the name for both a bracing contestatory failure
and that other kind of failure in which, as Barbara Johnson once remarked
with wryness and wisdom of deconstruction, “nothing fails like success”;
Romanticism is associated with that inevitable aftermath known as
“interpretive labor.”<a xmlns="http://www.w3.org/1999/xhtml" href="#8"> [8]</a><a name="back8"> </a> At moments
toward the end, <em xmlns="">Dickinson’s Misery</em> too emerges in a form of
what I judge to be quietist Romanticism, despite the book’s tone of
scholarly outrage, with Jackson’s courageously indigestible assertion she
does not want to be heard as saying that Dickinson’s posthumous career
<em xmlns="">should</em> have unfolded much differently (204 ff). </p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" " id="para7"><strong>7</strong>. The set of linked inquiries to follow from her study might well break down
some of our fundamental teaching goals (like seeing meaning as a matter of
thematic reference: the song of the bird), while fostering others (like the
specificity of material index: the cricket).<a href="#9"> [9]</a><a name="back9"> </a>
What kinds of blinkers do we put on for students simply in running
(Romantic) poetry classes—insofar as the object of study is thereby already
constructed? What kinds of critical acts do communities of readers perform
to condition what counts as possible meaning, before our interpretation (a
“reading”) even starts? What individual cases besides Dickinson’s present an
unclassifiable archive as the heuristic prompt? Can we sustain the mission
of a “poetics” classroom (i.e., an enterprise whose descriptive methodology
is not supposed to be configured around a “hermeneutic” relation to meaning)
that is <em xmlns="">not </em>constantly dragged back into interpretation? In
other words: can poetics be responsibly taught and pursued as a field all to
itself; or is its role essentially to produce a little saving distance in
view of the inevitable imperative that we interpret (we <em xmlns="">are</em>
interpreting, “always already”) by some model? And if the latter, which of
the stages in the process of interpretive self-recognition as a class or a
course unfolds is the appropriately <em xmlns="">theoretical </em>moment?
Finally, are there Romantic poets who don’t aspire, exactly, to be
<em xmlns="">poets</em> or to write <em xmlns="">poems</em> but who have been made
to—in the same way that all contestants definitely aspire to be pop stars on
<span xmlns="" class="titlem">American Idol</span>, just by showing up and opening
their mouths?<a xmlns="http://www.w3.org/1999/xhtml" href="#10"> [10]</a><a name="back10"> </a> Few if any of the British Romantic poets incite
questions, like Dickinson, on a level as disarmingly basic as whether they
in fact composed and published “poems.” But the critical urgency and utility
of asking questions about <em xmlns="">generic</em> rather than artistically
personal intent does register powerfully in a variety of teaching contexts
for almost any British Romantic Poetry course: Coleridge’s verse published
in newspapers; William and Dorothy Wordsworth’s shared manuscript spaces
(such as Dove Cottage MS 19);<a xmlns="http://www.w3.org/1999/xhtml" href="#11"> [11]</a><a name="back11"> </a> Byron’s “Fare Thee Well” verses, coded to circulate in at
least <em xmlns="">three</em> ways (as an intimate private confession to Lady
Byron; as a privately circulated account that tries to shape an emotional
and legal narrative around the “Separation Controversy”; as a published
lyric that addressed everyone and no one at once);<a xmlns="http://www.w3.org/1999/xhtml" href="#12"> [12]</a><a name="back12"> </a> John Clare’s “unpublished” and
editorially entitled poem, “[The Lament of Swordy Well],” about historical
dispossession and voicelessness. </p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" " id="para8"><strong>8</strong>. That Frost as the master versifier of colloquial northern American speech—the
practitioner of what he termed “sentence sounds” capturing a syntactical
form beyond individual words and their semantic, intentional meanings—might
have also honed his craft this way offers a telling counterpoint to the
presuppositions of “high” Romantic mythmaking on the composition of lyric.
Frost writes about “sentence sounds” and “the sound of sense” often in his
letters during a stretch of years leading up to his publication of <span xmlns="" class="titlem">North of Boston</span> in 1914. The theory was in effect his
attempt to educate a small group of capable (and, as it turned out, mostly
British) readers. As strings of sound whose verbal character he theorized to
precede the meaning of the individual words out of which they were
comprised, for Frost “sentence sounds” are a kind of sub-musical linguistic
intonation contour, apprehended by the poet from his verbal culture as if
one were hearing a spoken conversation taking place on the other side of a
closed door. </p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" " id="para9"><strong>9</strong>. At The University of Vermont I regularly teach a course titled “Theory of the
Lyric” in our English M.A. Program, and in the first meeting of the class I
begin seminar discussion by pointing out how there is a striking resonance
of this intriguing prosodic theory of Frost’s to John Stuart Mill’s
enormously influential characterization of something like the “primal scene”
of lyric as a modern genre. We all know the gist of Mill’s 1833 “What is
Poetry?” essay, of course, where he evokes a stereotypically “Romantic” idea
of poetry more as a spirit than as a genre, a spirit found in the
“<em xmlns="">over</em>heard” expression of “utterance of feeling,” against
the “<em xmlns="">heard</em>” address of persuasive eloquence.<a xmlns="http://www.w3.org/1999/xhtml" href="#13"> [13]</a><a name="back13"> </a> If it wasn’t <em xmlns="">done</em> at first in a self-consciously
allusive manner, Frost’s verbal, vocational, and fundamentally retrospective
(i.e., interpretive) attitude toward his own eavesdropping surely exists
with reference to Mill. Frost, devilishly, would know that it was he who had
been actively and secretly overhearing. Reversing Mill’s poles of the
(notional) writer and (literalized) audience, Frost was at liberty to listen
in, as the poet. His prosaic Derry neighbors were rather the ones
“unconscious of a listener,” in Mill’s terms. </p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" " id="para10"><strong>10</strong>. And—skylarks and nightingales aside— isn’t this savvier posture, with its
more impersonal and (potentially) self-critical construction of the relation
of immediacy to reception and analysis, largely the frame of “voice” and
listening that Romantic Poets exhibit?<a href="#14"> [14]</a><a name="back14"> </a> Wordsworth’s solitary reaper inherits his
strangely powerful commitment in the 1802 Preface to <span xmlns="" class="titlem">Lyrical Ballads</span> toward a “real substantial freedom and power”
in the suffering of those outside the first-person representational agency
accorded to lyric poetry.<a xmlns="http://www.w3.org/1999/xhtml" href="#15"> [15]</a><a name="back15"> </a>
<span xmlns="" class="titlem">Julian and Maddalo</span> (though not “lyric”) not only
distances the biographical personae of Byron and Shelley himself from their
known enthusiasms, but positions another character entirely at the center of
the poem, allowing for the ultimate illegibility of such a figure in
epistemological and ethical terms, as if in canny advance of Mill and his
therapeutic investment. The Romantic and Victorian “Poetess” figure, richly
explored and exploited by Felicia Hemans, Letitia Elizabeth Landon (L.E.L.),
and others, does indeed make much of the criterion of sentimental
authenticity, but pointedly shows how Mill’s carefully orchestrated
placement of poetic expression offers a phantom purity.<a xmlns="http://www.w3.org/1999/xhtml" href="#16"> [16]</a><a name="back16"> </a> In contrasting the “radical
authority” of the discursive function of “Lyric Interiority” in Romanticism
to what she calls the “elaborated authority” of “Editorial Exteriority”—
these two functions of Romanticism in “more or less simultaneous emergence
and convergence”—Maureen McLane theorizes Romantic Poetry through media
studies and offers a heuristic model with seven “modes of authorization
within and around Romantic poems” (184). The first of these is the authority
of inspiration; but there is also the authority of anonymity, imitative
authorship, authoritative translation, editorial, ethnographic, and
experiential authority (McLane 2008, 184-96). </p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" " id="para11"><strong>11</strong>. <em xmlns="">Where, when, and whom</em> are we imagining the poetic “voice” to
come from if we claim to find it in the impossible sequestration of lyric
consumption away from markets of both publication culture and mass
sociality? In creating the dramatic monologue as an intensifying spoof of
Mill’s scene of lyric confession, early Tennyson and Browning merely follow
to its logical generic extreme the inference that the psyche of the
quintessential poetic speaker is unbalanced, sociopathic or just plain
crazy. In the classroom, a pairing of Edgar Allan Poe’s “Philosophy of
Composition” with “The Raven” can serve as a lively early-semester reading
assignment for almost any student level, to test out and instantiate what
results from this idea of poetry as self-communion. With an objective
precision that does not exclude his own role as a literary hoaxer and
puffer, Poe realigns the scene of poetic production with optimal consumption
in the “Philosophy of Composition” essay, which constructs after the fact of
“The Raven” a double portrait of melodramatic suffering and clearheaded
sadomasochistic willfulness. </p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" " id="para12"><strong>12</strong>. To put my own Romanticist’s spin on what the Derry tour guide said, Robert
Frost, at least the young Frost of these striving apprentice years before
<span xmlns="" class="titlem">North of Boston</span>, both despised and emulated the
“language really used by men” that lay behind Wordsworth’s experiment in
<span xmlns="" class="titlem">Lyrical Ballads</span>. The recurrently despondent
young Frost was not sure yet if he resembled Wordsworth the mature poet or
his marginal subjects, if he was the witness to representation or the person
who gazed with suicidal thoughts into small pools of water and mused whether
they were deep enough to drown in. If in his poetry Frost sought to produce
the effect of an immediate but non-specifiable “oversound,”<a xmlns="http://www.w3.org/1999/xhtml" href="#17"> [17]</a><a name="back17"> </a> the living anthropological archive behind his lyric feat
was made of addressed communications, comprised of everyday intimacies that
“the poet” had gained access to and seems to have fecklessly violated. But
Frost’s approach, as most poetic theories do, has a multiplicity and
layering of functionalities that complicate any progressive linear narrative
available to analytical demystification. He sublimates the real content of
those overheard daily exchanges, to make from these materials a dynamic
frictional prosody that “breaks” sentence sound across the units of meter
and line. He exploits class privilege not only to record the slowly
disintegrating culture of failing New England farmers and itinerant country
laborers, but also to reinvigorate the quotidian life force of
Anglo-American poetry. Aligned broadly with Yeats and early Poundian
Imagism’s disapproval of mere poetic ornament, Frost’s commitment to the
“sound of sense” pushes back against the perception of an idealizing, ersatz
(i.e., “nonsense”) musicality of many late Victorian poets he grew up
admiring. Frost thus (just) saves the classic poetic tropes of “voice” and
“music” by exposing them to the contemporary truth of their
over-elaboration.<a href="#18"> [18]</a><a name="back18"> </a> By the same measure through which he
assumes the shared risk of bad faith ambitions to wrest common speech into
the domain of his own poetic voice, Frost also carries forward the
Wordsworthian project of everyday <em xmlns="">talking</em> and
<em xmlns="">thinking</em> (in) verse.</p>
</div>
<div class="section" id="body.1_div.1_div.2">
<p class=" " id="para13"><strong>13</strong>. A scan over my own syllabi serves merely as a personal reminder of the larger
realization that Romantic Poetry isn’t obviously at the forefront of current
literary theory. The field’s very centrality to twentieth century
methodological change—and to the twenty to thirty years of rapid
metabolization dating from the first translations of structuralism/
post-structuralism to America, the period known most narrowly as the heady
days of “theory”—is in part the cause of Romanticism’s current positioning,
on balance more reflective than experimental. The philosophical side of our
field especially has a dauntingly large buy-in cost of past learning for
aspiring young scholars. Romantic poetic theory played a covertly key role
in New Critical formalism; (positively, from these critics’ point of view)
it sponsored the organic element of thinking about poetic structure, and
(negatively) its sublime, or catachrestic, aspect set off the limits of
taste and a regulative sense of decorum. It was hot and cool at once to
study Romantic Poetry in the heyday of deconstruction;<a href="#19"> [19]</a><a name="back19"> </a> and the field continued its high visibility and importance as the
target of New Historicist critique—only matched in vigor by Shakespeare
Studies.</p>
<p class=" " id="para14"><strong>14</strong>. Where are we now? The “inclusion” of race, class, and gender concerns by this
point should be such a perennial feature across the spectra of teaching and
research production, that these interests cannot always be captured by
<em xmlns="">theoretical</em> headings.<a xmlns="http://www.w3.org/1999/xhtml" href="#20"> [20]</a><a name="back20"> </a> Ecological literary theory, animal studies, cognitive
literary studies, evolutionary approaches to narrative and lyric, theories
of trauma and testimony, and the continental philosophical debates around
biopower and political theology have all tangled with major Romantic
concepts and offered exemplary readings; and the energetic absorption of
much of this work is visible in scholarship carried out in the last decade
by dozens if not hundreds of Romanticists. Even that old literary-historical
chestnut, the French Revolution, has recharged a project of politics and
aesthetics on the left—somewhere between vibrant and violent—in the writings
of thinkers like Zizek, Badiou, and Rancière.<a href="#21"> [21]</a><a name="back21"> </a> This
secularly transcendent idea of “the people” is not to be equated with the
historical event of liberal democracy, and has unspent power. The
imbrications of Romantic-era culture and writing with the rise of our modern
finance economy comprise a rich and urgent topic. </p>
<p class=" " id="para15"><strong>15</strong>. An entirely different—though not inconsistent—way to talk about the eclectic
standing of current Romantic Studies in relation to Theory would stress the
reminder that critical “theory” is itself of Romantic invention, not just a
creature of 1917 or 1968 that has been unhurriedly dying since 1989. In the
coda to his 2011 book <span xmlns="" class="titlem">Romantic Sobriety</span>, Orrin Wang
persuasively maintains that Romanticism’s extravagant way of foregrounding
the spectral character of literary values and non-values appears now as the
widespread “embarrassment” of the humanities in broader institutional
context. Yet, methodologically and imaginatively if not in administrative
terms, that very untimeliness continues to give our field its edge: “The
discursive operations of [Romanticism] thus provide a tropological resource
for understanding literature’s present predicament during the global
reorganization of knowledge in and beyond the humanities. [. . .]
If Romanticism has always been structured by its own legitimation crisis, so
has literature, a predicament whose present form we know today mostly
because of the meta-commentary of, and on, Romanticism.”<a xmlns="http://www.w3.org/1999/xhtml" href="#22"> [22]</a><a name="back22"> </a>
</p>
<p class=" " id="para16"><strong>16</strong>. Here one can read Wang as offering an important reply to Jackson’s argument
about the role of Romanticism in the normalizing and naturalizing project
she calls “lyricization.” Romanticism, Wang shows, continues to perform its
own “legitimation crisis,” and therefore its study may lend an invaluable
perspective to the present reorganization of the humanities in which all
literary modes of knowledge are made to appear ghostly and marginalized. </p>
<p class=" " id="para17"><strong>17</strong>. However in this essay I have shared some of my introductory approaches to the
practice of teaching “literary” or “poetic” ontology. I think it’s important
that we try to teach aspects of such a concept, and its associated
theoretical concerns, even though the terminology may sound daunting.
Because lyric poems are short and non-narrative, students going back to
those trained to do so by <span xmlns="" class="titlem">The Well-Wrought Urn</span> have
had a difficult time <em xmlns="">not</em> making a microcosm of poetic form
(which need not be “closed” rather than open)<a xmlns="http://www.w3.org/1999/xhtml" href="#23"> [23]</a><a name="back23"> </a> and
treating a poem as a certain kind of organic or architectural
<em xmlns="">thing</em>: an urn, a tree (and so treating its interpretation
implicitly). The New Critical move, in which the poem’s subject matter or
metaphorical tactics are handled as a blueprint for reading the poetry, is
too neat a student exercise when it works and is deeply corrosive of the
shared critical project when it is done unconsciously.<a xmlns="http://www.w3.org/1999/xhtml" href="#24"> [24]</a><a name="back24"> </a>We still need Paul de Man’s reminder (worth a few
dramatic bangs on the table in class, or what I call a principled “stupid”
insistence from my point of view as the teacher) that you can’t grow grapes
by the light of the <em xmlns="">word</em> “day.”<a xmlns="http://www.w3.org/1999/xhtml" href="#25"> [25]</a><a name="back25"> </a> Especially after we’ve gotten through
reading the “Among School Children” chapter of <span xmlns="" class="titlem">The
Well-Wrought Urn</span>, which is a prototype of symbolic form and the
conflation of the logic of the poetical symbol with that of critical
practice, de Man’s remarks on the <em xmlns="">literal</em> urgency of Yeats’s
so-called rhetorical question, “How can we know the dancer from the dance?,”
ought to have something like the analytical urgency and (near-) despair of
Shelley’s “Then what is life?” The categories of nature and history are too
poor and too lavish alike to answer such questions.</p>
<p class=" " id="para18"><strong>18</strong>. In class, I end this discussion of poetic ontology with a look at Helen
Vendler’s claim that Elizabeth Bishop’s posthumously published lyrics in
<span xmlns="" class="titlem">Edgar Allan Poe and the Jukebox</span> aren’t even
“poems” but “repudiated” objects. Vendler’s <span xmlns="" class="titlem">New
Republic</span> review has a clear theoretical application to debates
about authorial intent and the Foucauldian author function, but I find it
even more resonant as an unwitting rehearsal of how drastically a simple
“genre” term can frame the field of available meaning. A class exercise
involving the contrast of Elizabeth Bishop’s and Felicia Hemans’s <span xmlns="" class="titlem">Casabianca</span> poems effectively relates the social and
historical categories of lyric and narrative poetry. This generic or even
sub-generic divide has become—at its most flat and unproductive extreme—a
tacit judging standard of “good” and “bad” poems for many people in higher
education on both sides of the classroom; or, in Vendler's case, a test of
poetry that accedes to the status of a real “poem,” versus verse (!) which
is denied that status in such an exaggerative, indeed theological, way.
Having two students energetically read the absolutely sincere and yet
morosely funny, two-column poem on the death of Bishop’s toucan, “Uncle Sam”
(collected in <span xmlns="" class="titlem">Edgar Allan Poe</span>), will aid this
lesson and lighten the group dynamic of a graduate seminar inclined to
seriousness. In future iterations of this Romantically-oriented graduate
“Theory of Lyric” course, I am looking forward to incorporating two new
lessons on these issue of poetic ontology and lyric address: I want to open
up the syllabus more to avant-garde and post-war, post-modernist lyric
strategies, by looking at Frank O’Hara’s tongue-in-cheek “Personism”
Manifesto in the famous Donald Allen anthology; and to share George Oppen’s
“daybooks” and his unusually physical, accretive, method of revising his
poetry, where often new “versions” of a poem are marked by superimposed
layers of planks and wire and nails—not by an erasure. </p>
</div>
</div>
<div class="citations" id="body.1_div.2">
<h3 align="center">Works Cited</h3>
<p class="hang">Banfield, Ann. <span xmlns="" class="titlem">Unspeakable Sentences: Narration and
Representation in the Language of Fiction</span>. Boston: Routledge, 1982.
Print.</p>
<p class="hang">Benjamin, Walter. <span xmlns="" class="titlem">The Writer of Modern Life: Essays on
Charles Baudelaire</span>. Ed. Michael W. Jennings. Cambridge: Harvard UP,
2005. Print.</p>
<p class="hang">Bloom, Harold, et al. <span xmlns="" class="titlem">Deconstruction and Criticism</span>.
New York: Continuum, 1979. Print.</p>
<p class="hang">Boyd, Brian. <span xmlns="" class="titlem">Why Lyrics Last: Evolution, Cognition, and
Shakespeare’s Sonnets.</span> Cambridge: Harvard UP, 2012. Print.</p>
<p class="hang">Brooks, Cleanth. <span xmlns="" class="titlem">The Well-Wrought Urn: Studies in the
Structure of Poetry</span>. New York: Harvest, 1947. Print.</p>
<p class="hang">Campion, Jane. Dir. <span xmlns="" class="titlem">Bright Star</span>. Sony Studios, 2009.
DVD.</p>
<p class="hang">Culler, Jonathan. “Introduction: Critical Paradigms.” <span xmlns="" class="titlej">PMLA</span> 125.4 (2010). 905-15. Print.</p>
<p class="hang">---. “Why Lyric?” <span xmlns="" class="titlej">PMLA</span> 123.1 (2008). 201-6.
Print.</p>
<p class="hang">De Man, Paul. <span xmlns="" class="titlem">Allegories of Reading: Figural Language in
Rousseau, Nietzsche, Rilke, and Proust.</span> New Haven: Yale UP, 1979.
Print.</p>
<p class="hang">---. <span xmlns="" class="titlem">The Resistance to Theory</span>. Minneapolis: U of
Minnesota P, 1986. Print.</p>
<p class="hang">Derrida, Jacques. <span xmlns="" class="titlem">Sovereignties in Question: The Poetics of
Paul Celan</span>. Ed. Thomas Dutoit and Outi Pasanen. New York: Fordham
UP, 2005. Print.</p>
<p class="hang">François, Anne-Lise. <span xmlns="" class="titlem">Open Secrets: The Literature of
Uncounted Experience</span>. Stanford: Stanford UP, 2008. Print.</p>
<p class="hang">Frost, Robert. <span xmlns="" class="titlem">The Poetry of Robert Frost</span>. Ed. Edward
Connery Lathem. New York: Holt, 1969. Print.</p>
<p class="hang">Fry, Paul H. “<a class="link_ref" href="http://oyc.yale.edu/english/engl-300" title="ENGL 300: Introduction to Theory of Literature">ENGL 300:
Introduction to Theory of Literature</a>.” Open Yale Courses. Online.
Web.</p>
<p class="hang">Guyer, Sara. <span xmlns="" class="titlem">Romanticism after Auschwitz</span>. Stanford:
Stanford UP, 2007. Print.</p>
<p class="hang">Hemans, Felicia. <span xmlns="" class="titlem">Selected Poems, Letters, Reception
Materials</span>. Ed. Susan J. Wolfson. Princeton: Princeton UP, 2001.
Print.</p>
<p class="hang">Hosek, Chaviva and Patricia Parker. Eds. <span xmlns="" class="titlem">Lyric Poetry: Beyond
New Criticism</span>. Ithaca: Cornell UP, 1985. Print.</p>
<p class="hang">Jackson, Virginia, <span xmlns="" class="titlem">Dickinson’s Misery: A Theory of Lyric
Reading</span>. Princeton: Princeton UP, 2005. Print.</p>
<p class="hang">---. “LYRIC.” <span xmlns="" class="titlem">The Princeton Encyclopedia of Poetry and
Poetics</span>, fourth edition. Ed. Roland Greene. Princeton and Oxford:
Princeton UP, 2012. 826-34. Print.</p>
<p class="hang">Jarvis, Simon. “How to Do Things with Tunes: Or, Prose Rhythm Today”; lecture
delivered at the Harvard English Institute, Sept 7, 2013. </p>
<p class="hang">---., “What Does Art Know?” <span xmlns="" class="titlem">Aesthetics and the Work of Art:
Adorno, Kafka, Richter</span>. Ed. Peter de Bolla and Stefan H. Uhlig.
Houndmills: Palgrave, 2009. 57-70. Print.</p>
<p class="hang">Johnson, Barbara. “Nothing Fails Like Success.” <span xmlns="" class="titlem">A World of
Difference</span>. Baltimore: Johns Hopkins UP, 1988. 11-6. Print.</p>
<p class="hang">---. <span xmlns="" class="titlem">Persons and Things</span>. Cambridge: Harvard UP, 2008.
Print.</p>
<p class="hang">Johnson, W.R. <span xmlns="" class="titlem">The Idea of Lyric: Lyric Modes in Ancient and
Modern Poetry</span>. Berkeley: University of California Press, 1982.
Print.</p>
<p class="hang">Knapp, Steven and Walter Benn Michaels. “Against Theory.” <span xmlns="" class="titlem">Against Theory: Literary Studies and the New Pragmatism</span>. Ed. W.J.T.
Mitchell. Chicago: U of Chicago Press, 1985. 11-30. Print.</p>
<p class="hang">Labbe, Jacqueline. “Poetics.” <span xmlns="" class="titlem">A Handbook of Romanticism
Studies</span>. Ed. Joel Faflak and Julia M. Wright. Malden, MA:
Wiley-Blackwell, 2012. 143-58. Print.</p>
<p class="hang">Lacoue-Labarthe, Philippe and Jean-Luc Nancy. <span xmlns="" class="titlem">The Literary
Absolute: The Theory of Literature in German Romanticism</span>. Tr. Philip
Barnard and Cheryl Lester. Albany: SUNY P, 1988. Print.</p>
<p class="hang">McLane, Maureen N. <span xmlns="" class="titlem">Balladeering, Minstrelsy, and the Making
of British Romantic Poetry</span>. Cambridge: Cambridge UP, 2008.
Print.</p>
<p class="hang">---. <span xmlns="" class="titlem">My Poets</span>. New York: Farrar, Straus and Giroux,
2012. Print.</p>
<p class="hang">Mill, John Stuart. “What is Poetry?” <span xmlns="" class="titles">The Norton Anthology of
English Literature</span>, 8 edition, Vol. E;
<span xmlns="" class="titlem">The Victorian Age</span>. Ed. Stephen Greenblatt et al.
New York: Norton, 2005. 1044-51. Print.</p>
<p class="hang">Newlyn, Lucy. <span xmlns="" class="titlem">William and Dorothy Wordsworth: ‘All in Each
Other’</span>. Oxford and New York: Oxford UP, 2013. Print.</p>
<p class="hang">Poe, Edgar Allan. <span xmlns="" class="titlem">The Fall of the House of Usher and Other
Writings</span>. Ed. David Galloway. London: Penguin, 1986. Print.</p>
<p class="hang">Prins, Yopie. “Historical Poetics, Dysprosody, and <span xmlns="" class="titlem">The
Science of English Verse</span>.” <span xmlns="" class="titlej">PMLA</span> 123.1
(2008). 229-34. Print.</p>
<p class="hang">Prynne, J.H. <span xmlns="" class="titlem">Fieldwork:</span> ‘<span xmlns="" class="titlem">The
Solitary Reaper’ and Others</span>. Cambridge: Cambridge Printers Ltd,
2007. Print.</p>
<p class="hang">Rancière, Jacques. <span xmlns="" class="titlem">The Flesh of Words: The Politics of
Writing</span>. Tr. Charlotte Mandell. Stanford: Stanford UP, 2004.
Print.</p>
<p class="hang">---. <span xmlns="" class="titlem">Mute Speech: Literature, Critical Theory, and
Politics</span>. Tr. Gabriel Rockhill. New York: Columbia Univ. Press,
2011. Print.</p>
<p class="hang">---. “The Politics of the Spider.” <span xmlns="" class="titlej">Studies in
Romanticism</span> 50.2 (2011). 239-50.</p>
<p class="hang">---. <span xmlns="" class="titlem">Short Voyages to the Land of the People</span>. Tr.
James B. Swenson. Stanford: Stanford Univ. Press, 2003. Print.</p>
<p class="hang">Redfield, Marc. “Romantic Poetry and Literary Theory: The Case of ‘A Slumber
Did My Spirit Seal’.” <span xmlns="" class="titlem">A Companion to Romantic Poetry</span>.
Ed. Charles Mahoney. Malden, MA: Wiley Blackwell, 2011. 467-82. Print.</p>
<p class="hang">Sanders, David. <span xmlns="" class="titlem">A Divided Poet: Robert Frost,</span> North
of Boston, <span xmlns="" class="titlem">and the Drama of Disappearance.</span> Rochester,
NY: Camden House, 2011. Print.</p>
<p class="hang">Scott, Grant F. Rev. of <span xmlns="" class="titlem">Bright Star</span>, dir. Jane
Campion. <span xmlns="" class="titlej">Studies in Romanticism</span> 49.3 (2010). 507-12.
Print.</p>
<p class="hang">Stewart, Susan. <span xmlns="" class="titlem">The Poet’s Freedom: A Notebook on
Making</span>. Chicago: U of Chicago P, 2011. Print.</p>
<p class="hang">Thompson, Lawrance. <span xmlns="" class="titlem">Robert Frost: The Early Years,
1874-1915</span>. New York: Holt, 1966. Print.</p>
<p class="hang">Vendler, Helen. “The Art of Losing.” <span xmlns="" class="titles">The New
Republic</span>. April 3, 2006. 33-7.Print.</p>
<p class="hang">Wang, Orrin. <span xmlns="" class="titlem">Romantic Sobriety: Sensation, Revolution,
Commodification, History</span>. Baltimore: Johns Hopkins UP, 2011.
Print.</p>
<p class="hang">Wolfson, Susan. <span xmlns="" class="titlem">Romantic Interactions: Social Being and the
Turns of Literary Action</span>. Baltimore: Johns Hopkins UP, 2010.
Print.</p>
<p class="hang">Wordsworth, William. Lyrical
Ballads<span xmlns="" class="titlem"> and Other Poems, 1797-1800</span>.
Ed. James Butler and Karen Green. Ithaca: Cornell UP, 1992. Print.</p>
</div>
<div class="notes">
<div class="noteHeading"><h3>Notes</h3></div>
<div class="note"><p class="letnote"><a name="1">[1] </a>In standard accounts, Frost learns colloquial inflection
especially from his neighbor Napoleon Guay and the poultryman John Hall;
See Thompson, <em xmlns="">Robert Frost: The Early Years</em> 284; Sanders,
<span xmlns="" class="titlem">A Divided Poet</span> 3. <a xmlns="http://www.w3.org/1999/xhtml" href="#back1">BACK</a></p></div>
<div class="note"><p class="letnote"><a name="2">[2] </a>“Resistance” of course is a trigger word. It
is worth recalling that, for Paul de Man, the important distinction
wasn’t one between “theory” and “praxis” (though he feints in this
direction when describing his failed <span xmlns="" class="titlem">PMLA</span>
commission at the start of “The Resistance to Theory,”) but rather the
extent to which the “literariness” that became the “object of literary
theory” (9) after Saussure is conceivably <em xmlns="">not in itself subject to
phenomenalization</em>. In his Foreward, Wlad Godzich evokes this
staggering possibility—which de Man was insistently to call
“materialism” in his last years—as the radical <em xmlns="">matter of
reading</em> and “the resistance of the material to the
ideological overlay” (<span xmlns="" class="titlem">Resistance to Theory</span>
x-xi). De Man himself is typically clearer and yet more mysterious:
“Literature is fiction not because it somehow refuses to acknowledge
‘reality,’ but because it is not <em xmlns="">a priori</em> certain that
language functions according to principles which are those, or which are
<em xmlns="">like</em> those, of the phenomenal world” (11); “The
resistance to theory is a resistance to the use of language about
language” (12). The pedagogical upshot, as de Man flatly levels it, is
that “it is better to fail in teaching what should not be taught than to
succeed in teaching what is not true” (4). Words to gird the soul and
buckle the knees of any teacher. <a xmlns="http://www.w3.org/1999/xhtml" href="#back2">BACK</a></p></div>
<div class="note"><p class="letnote"><a name="3">[3] </a>Culler, “Why Lyric?,” 202.
This entire 2008 “New Lyric Studies Roundtable” forms part of the
backbone of my current syllabus. (It can be assigned either at the very
beginning or at the end of the semester, depending on the students’
collective experience and relationship to professionalization. The
essential variable here is the professor’s choice whether to foreground
a difficult, but table setting, reading or to position the <span xmlns="" class="titlej">PMLA</span> issue more comfortably as late-semester
review asking where we are “now.”) Among the other books I rotate
through assigning in this course—whose syllabus is built from the
outside in—from “secondary” criticism and theory back to the literary
texts that feature in these accounts—are Brooks, <span xmlns="" class="titlem">The
Well-Wrought Urn</span>; Hosek and Parker, <span xmlns="" class="titlem">Lyric
Poetry: Beyond New Criticism</span> (I make .pdf copies of chapters
from this scarce title); Benjamin, <span xmlns="" class="titlem">The Writer of Modern
Life</span>; Bloom, et al., <span xmlns="" class="titlem">Deconstruction and
Criticism</span>; Jackson, <span xmlns="" class="titlem">Dickinson’s
Misery</span>; Derrida, <span xmlns="" class="titlem">Sovereignties in
Question</span>; Johnson, <span xmlns="" class="titlem">Persons and
Things</span>; Stewart, <span xmlns="" class="titlem">The Poet’s
Freedom</span>. I plan in future syllabi to include Boyd, <span xmlns="" class="titlem">Why Lyrics Last</span> and McLane, <span xmlns="" class="titlem">My
Poets</span>. <a xmlns="http://www.w3.org/1999/xhtml" href="#back3">BACK</a></p></div>
<div class="note"><p class="letnote"><a name="4">[4] </a>In their notorious essay
“Against Theory” (1982), Walter Benn Michaels and Stephen Knapp exempt
from their working definition of “theory” all “literary subjects with no
direct bearing on the interpretation of individual works, such as
narratology, stylistics, and prosody” (11). Introducing a recent
collection on new directions in literary studies published in a 2010
issue of <span xmlns="" class="titlej">PMLA</span>, Jonathan Culler similarly points
out that poetics as a field of inquiry actually includes narratology
within it. Thus poetics and narrative theory (or lyric poems and novels)
need not be taught in isolation or confrontationally. See Jarvis (2009)
and Wang for incisive and (in their own right) ambitiously “theoretical”
responses by British Romanticists to the work of Benn Michaels in
“Against Theory” and <span xmlns="" class="titlem">The Shape of the
Signifier</span>. Jackson deals with the implicitly enabling poetic
terms of “Against Theory”—and deftly exposes Benn Michaels’s “smash and
grab” style of argumentation—in <em xmlns="">Dickinson’s Misery</em> 110-16.
Her resonant claim, pace <em xmlns="">both</em> New Critical/ deconstructive
formalism and the neo-pragmatism of Knapp and Benn Michaels, is that
generic form is intentional or has come to be treated as the final locus
of intentionality. “[I]n order to interpret these lines [of “A Slumber
Did My Spirit Seal”] we will immediately ask a double-sided question
concerning the intentions of the author and the intentions of the form”
(114). Marc Redfield offers a summary to date (fall 2012) of the
astoundingly large field of theoretical inquiry around the eight lines
of “A Slumber Did My Spirit Seal.” <a xmlns="http://www.w3.org/1999/xhtml" href="#back4">BACK</a></p></div>
<div class="note"><p class="letnote"><a name="5">[5] </a>Jackson,
<span xmlns="" class="titlem">Dickinson’s Misery</span> 6. Since he aimed so
concertedly at success as a lyric poet, Frost’s oeuvre (to my knowledge)
contains no examples as radical as any of the “poems” of Dickinson. But
consider a relatively unexceptional poem like “The Pasture”, which was
published both as a prologue to <span xmlns="" class="titlem">North of Boston</span>
in 1914, and as the prologue to Frost’s <span xmlns="" class="titlem">Complete
Poems</span> after his death. Famously and rather vapidly ending
with the line, “I sha’n’t be long.—You come too,” this lyric offers a
paradigm of abstracted non-specific address to the notional reader. Yet
its concrete address is exceptionally intense, sexual and even tacitly
suicidal. Biographer Lawrance Thompson situates “The Pasture” in a
context of passionate address to Elinor, inviting her to remember
“moments of lovemaking” (311). Just a few pages earlier in <span xmlns="" class="titlem">Robert Frost: The Early Years</span>, Thompson had
recounted a horrible memory of Lesley’s, in which her father woke her in
the night and brought her down to the parlor, then—pointing a gun toward
her mother and then toward himself—had asked her to choose: “‘Before
morning, one of us will be dead’” (308). <a xmlns="http://www.w3.org/1999/xhtml" href="#back5">BACK</a></p></div>
<div class="note"><p class="letnote"><a name="6">[6] </a>But <em xmlns="">are</em> bobolinks “homely”? See <a xmlns="http://www.w3.org/1999/xhtml" class="link_ref" href="https://youtu.be/ewW7XfD0EQU" title="Bird on the Rebound">Bird on
the Rebound</a>. <a href="#back6">BACK</a></p></div>
<div class="note"><p class="letnote"><a name="7">[7] </a>The recent film version of Keats’s life,
Jane Campion's <span xmlns="" class="titlem">Bright Star</span> (2009), in effect
reverses the scenario of lyric reading by recasting so many famous
poetics statements from the letters in a setting of intimate personal
communication with Fanny Brawne (see Grant F. Scott’s scrupulously sharp
review of the film in <span xmlns="" class="titlem">Studies in Romanticism</span>).
“I’ve come for my poetry class,” Fanny says to Charles Brown and to
Keats upon entering the room, at the start of a key scene in the film in
which Keats goes on to extemporize conversationally on the ideas of the
chameleon poet that we know so well from the letters. As teachers of
Romanticism and poetic theory, are we more in danger, then, of
overriding and abstracting the intimacy of personal address such as
Dickinson’s “letter poems” to Susan Gilbert? Or should we instead (or
concomitantly) pay attention to the danger of over-personalizing and
<em xmlns="">only</em> reading biographically the often curiously
neutral, <em xmlns="">written</em>, spaces of literature and its
genres? <a xmlns="http://www.w3.org/1999/xhtml" href="#back7">BACK</a></p></div>
<div class="note"><p class="letnote"><a name="8">[8] </a>See de Man (in Bloom,
et al., <span xmlns="" class="titlem">Deconstruction and Criticism</span>) 39;
Johnson, “Nothing Fails Like Success”; Wang 163. <a xmlns="http://www.w3.org/1999/xhtml" href="#back8">BACK</a></p></div>
<div class="note">
<p class="letnote"><a name="9">[9] </a>However the
matter of deconstruction is by no means done away with in framing the
contrast between a symbolic/thematic register of lyric reading and what
I here call the poem’s “material index” (i.e., an indexical versus an
abstract model of reference). Virginia Jackson thus writes about the
freezing and fixing effect that anthropomorphism has upon the lateral
movement of the signifying chain—the most famous conclusion of Paul de
Man’s “Anthropomorphism and Trope in the Lyric” essay:</p>
<div class="blockquote">The ‘this’
that Dickinson offers Susan [Gilbert Dickinson] is not a vehicle for
vicarious feeling; it is, and is not, to recall de Man’s definition
of lyric anthropomorphism, ‘an identification on the level of
substance,’ since it reverses the tropological process de Man
described when a figure ‘is no longer a proposition but a proper
name, as when the metamorphosis in Ovid’s stories culminates and
halts in the singleness of the proper name, Narcissus or Daphne or
whatever.’ Dickinson did not write to Susan, ‘This is my cheek,’ or
‘this is my sorrow,’ or ‘this is my death,’ or ‘this is you.’ She
did not name the flower; by taking it from the woods, rather than
killing it she seems to have rescued it from being metamorphosed
into other names—or other poems. (<span xmlns="" class="titlem">Dickinson’s
Misery</span> 231-2).</div>For the later de Man, there is
indeed a material dimension that the paradigmatically “lyric” poem (and
poet, and critic) represses. It is precisely the materiality of
language, as a non-human (alternately divine or mechanical, but
<em xmlns="">not</em> human) and extra-intentional system. So while, from
one perspective, Jackson’s procedure in this passage and throughout her
book brilliantly and cagily outstrips de Man by taking further his own
methodological insights, on another viewing Jackson’s approach seems to
desire to go so far outside the “Romantic” self-reflective theoretical
project of literature, that it is essentially <em xmlns="">pre</em>-critical,
or—better said—its source of power is pre-critical. Much as Jackson
accuses de Man of doing (108), <span xmlns="" class="titlem">Dickinson’s
Misery</span> conducts a rational endgame according to the internal
dynamics of lyric reading, but it also casts its own spell. Jackson
retrieves the “open secret” of passion and traces a rich counterpoetics
of queer relationship in her commentary on Susan Gilbert Dickinson’s
1860 “Private” message (“I send / you this”) and the earlier
“deanthropomorphiz[ing]” lines Dickinson had sent to Susan in
1859—“Whose cheek is this?”—which rescue a real flower from poetic
personification (“I found her—‘pleiad’—in the woods / And bore her safe
away—” (230-1). But notice how Jackson’s passage lingers over the now
missing, carbonized flower—“Although the flower to which ‘this’ pointed
is no longer on the page for the word to point <em xmlns="">to</em>, on the
manuscript its imprint is still visible” (228)—whereas de Man’s
“materiality” captures an aspect intrinsic to language. The strength of
Jackson’s commentary hence repeatedly stems from her recognition of how
Dickinson “folded other poetic genres” and signifying codes into her own
texts “that often point away” quite radically from modern generic
conventions and their interpretive violence (228). Symbolic reference is
at once meta-critically and literally folded into, or cited, in a
typical Dickinson archive “poem.” But success in anticipating this
hegemonic kind of “readability” is not at all the vector of her poetry’s
aspiration; if anything, it runs the opposite way. The danger of this
reading, however, is that it risks making the pathos of losing Hegelian
“sense-certainty” (the <em xmlns="">this</em>; the flower rather than the
conventional poetic sign; and, in <span xmlns="" class="titlem">Dickinson’s
Misery</span>, the “open secret” of lesbianism) a terminus for
critical activity rather than its incitement. Hegel and, especially,
Derrida are largely omitted to a cost from Jackson’s discussion. <a xmlns="http://www.w3.org/1999/xhtml" href="#back9">BACK</a>
</div>
<div class="note"><p class="letnote"><a name="10">[10] </a>Almost uniquely among
contemporary literary scholarship, Anne-Lise François’s work in <span xmlns="" class="titlem">Open Secrets</span> allows for the possibility of such
non-assertive utterance. Also (and not coincidentally) relevant here is
Ann Banfield, who in <span xmlns="" class="titlem">Unspeakable Sentences</span> once
postulated of narrative theory that the conditions of print culture and
writing are the enabling conditions of the modern subject: i.e., a third
person “objective” instantiation of the subject, a “self,” whose form is
not that of the morphological speaker (234). For Banfield, if “[t]he
ingredients for represented speech and thought are thus given in
universal grammar,” they <em xmlns="">appear</em> historically rather than a
priori. The horizon of the modern “self” becomes visible and operative
only after the supersession of an exclusive “I”/ “you” (and “here,”
“now”) communicative scene. It is the intrinsic <em xmlns="">writtenness
</em>of the modern third-person novel—which was historically
unexampled even though poetry of course too had long been an artifact of
writing—that supplies the kind of perspective first required to
<em xmlns="">have</em> and see our<em xmlns="">selves</em>. I will quickly
add, however, that this massive transition in the ideological and formal
horizons of material print culture should not be misunderstood in a
facile way as the supersession of lyric and its paradigmatic “I.” We are
dealing not with a myth and an empirical reality, but with conjuration
and cross-conjuration, a situation in which lyric pretenses themselves
can become the other of a hegemonic order of narrative. Whereas the
lyric poem (especially what W.R. Johnson calls “absolute lyric,” a
post-Romantic written discourse now entirely beyond the social
environments of a concrete addressee) persists in a spectral formal
continuation of the unmediated speech-act scene, this formal ritual is
already a displacement of the “constative” norm. What the ascendant
“realist” novel and narrative theory do, nevertheless, is to promise the
release of literature from the demand for <em xmlns="">any</em> linkage to
ritual. <a xmlns="http://www.w3.org/1999/xhtml" href="#back10">BACK</a></p></div>
<div class="note"><p class="letnote"><a name="11">[11] </a>See Newlyn
139. <a href="#back11">BACK</a></p></div>
<div class="note"><p class="letnote"><a name="12">[12] </a>Wolfson 211-52. <a href="#back12">BACK</a></p></div>
<div class="note"><p class="letnote"><a name="13">[13] </a>An accessible teaching source for Mill’s essay is <span xmlns="" class="titlem">The
Norton Anthology of English Literature</span>, 8 edition, Vol. E; <span xmlns="" class="titlem">The Victorian Age</span>
1044-51. For Mill, famously, “[t]he peculiarity of poetry appears to us
to lie in the poet’s utter unconsciousness of a listener. Poetry is
feeling confessing itself to itself in moments of solitude” (1048).
<a xmlns="http://www.w3.org/1999/xhtml" href="#back13">BACK</a></p></div>
<div class="note"><p class="letnote"><a name="14">[14] </a>The
“listening” figure of Wordsworth's Boy of Winander is a
critical/theoretical locus communis on this issue. See Prynne, <span xmlns="" class="titlem">Fieldwork:</span> ‘The Solitary Reaper’ and Others, for a
book-length account of that poem full of astute anthropological and
formal observations. <a xmlns="http://www.w3.org/1999/xhtml" href="#back14">BACK</a></p></div>
<div class="note"><p class="letnote"><a name="15">[15] </a>Wordsworth,
<span xmlns="" class="titlem">Lyrical Ballads and Other Poems, 1797-1800</span>
751. <a xmlns="http://www.w3.org/1999/xhtml" href="#back15">BACK</a></p></div>
<div class="note"><p class="letnote"><a name="16">[16] </a>Labbe, “Poetics”, offers an introduction to the varieties
of Romantic-era poetry and poetic theory, including not only an
extension of the “Big Six” to account for other male poets such as John
Clare and Walter Scott, but also poetry by women. Labbe’s account
reinforces the now-canonical teaching status in particular of Anna
Letitia Barbauld, Felicia Hemans, Letitia Landon, Mary Robinson, and
Charlotte Smith—though it is the later writers on this list, Hemans and
L.E.L., who represent the “Poetess” figure. Jackson discusses the
American literary culture of the Poetess in <span xmlns="" class="titlem">Dickinson’s
Misery</span> 209-32. <a xmlns="http://www.w3.org/1999/xhtml" href="#back16">BACK</a></p></div>
<div class="note"><p class="letnote"><a name="17">[17] </a>A word from the poem “Never Again Would
Birdsong Be the Same,” a poem which through the figure of Eve implies
there are gendered elements to Frost’s conception of the “sentence
sound.” <a href="#back17">BACK</a></p></div>
<div class="note"><p class="letnote"><a name="18">[18] </a>Yopie Prins offers a counterpoint
here; her work in a series of linked essays collectively entitled “Voice
Inverse,” which I obliquely quote below (while also meaning a reference
to Simon Jarvis’s work), invests in the impersonality of musical
practice as a scientific or pseudo-scientific method in the poetic
theory of Sidney Lanier. For Prins, importantly, the “musicality” or
“harmony” of verse is not invoked as a generalizing “voice” metaphor,
but as an estranging mechanical techne that points up a mediating system
at work beyond expression. <a href="#back18">BACK</a></p></div>
<div class="note"><p class="letnote"><a name="19">[19] </a>I borrow the characterization of deconstruction as at
once “hot and cool” from Paul H. Fry’s general remark on theory at a
certain time; see his “<a class="link_ref" href="http://oyc.yale.edu/english/engl-300/lecture-1" title="Theory of Literature">Theory of
Literature</a>” lectures, available as a Yale Open Course online.
<a href="#back19">BACK</a></p></div>
<div class="note"><p class="letnote"><a name="20">[20] </a>But for a unit at
the undergraduate level designed to teach Romanticism in terms of race,
class, and gender, I have found teaching Wordsworth’s “Daffodils” lyric
together with Jamaica Kincaid’s novel <span xmlns="" class="titlem">Lucy</span> very
rewarding. Partly due to the importance of Milton and (unacknowledged)
Romantic “Satanism” to <span xmlns="" class="titlem">Lucy</span>, <span xmlns="" class="titlem">Frankenstein</span> also works really well sandwiched in
between. <a xmlns="http://www.w3.org/1999/xhtml" href="#back20">BACK</a></p></div>
<div class="note"><p class="letnote"><a name="21">[21] </a>Jacques
Rancière’s writing stands out in this group for its engagement with the
post-revolutionary political aesthetics of lyric poetry. Rancière
discusses Wordsworth in detail in <span xmlns="" class="titlem">Short Voyages to the
Land of the People</span>; Wordsworth, Byron, and Percy Shelley in
<span xmlns="" class="titlem">The Flesh of Words</span>; and Keats in a recent
<span xmlns="" class="titlem">SiR</span> special issue essay, “The Politics of
the Spider”: all are assignable texts for graduate level courses on
British Romantic Poetry or Romanticism and Critical Theory (especially
through selections shared in .pdf format). <span xmlns="" class="titlem">Mute
Speech</span> conceived as a whole study offers a broader European
context with lesser-known late eighteenth-century French figures such as
La Harpe; but I have found the chapters “From One Literature to Another”
and “From Representation to Expression” (29-51) to be productive in
setting up a framework for thinking about “literariness” and genre early
on in the semester, as an alternative to or alongside “classics” such as
Northrop Frye’s <span xmlns="" class="titlem">Anatomy of Criticism</span> or M.H.
Abrams’s <span xmlns="" class="titlem">The Mirror and the Lamp</span>. <a xmlns="http://www.w3.org/1999/xhtml" href="#back21">BACK</a></p></div>
<div class="note"><p class="letnote"><a name="22">[22] </a>Wang, <span xmlns="" class="titlem">Romantic Sobriety</span> 286-7.
Comparable in this respect, Sara Guyer’s work in <span xmlns="" class="titlem">Romanticism after Auschwitz</span> intricately as well as
insistently shows how the untimeliness of rhetoric and figure are the
theoretical legacy of Romanticism. <a xmlns="http://www.w3.org/1999/xhtml" href="#back22">BACK</a></p></div>
<div class="note"><p class="letnote"><a name="23">[23] </a>In his
lecture before the Harvard English Institute meeting on “Form,” Simon
Jarvis handled the assigned topic in a compelling way by reality testing
its force, and asked “what bad things happen to me if I avoid using this
word?” See Jarvis, “How to Do Things with Tunes: Or, Prose Rhythm
Today.” Following Boris Eikhenbaum, Jarvis invited those in attendance
to embrace the Russian Formalist distinction, “we are not formalists, we
are specifiers.” But would the conceptual cave-in that did not occur in
Jarvis’s enlivening talk have been the vengeance of form and not the
result of the intellectual configurations of those people present?
Presumably, if form were a real category of experience and analysis
rather than merely a badge to wear or discredit, then Jarvis was
inviting its return from repression in the only way possible. <a href="#back23">BACK</a></p></div>
<div class="note"><p class="letnote"><a name="24">[24] </a>Brooks’s most influentially vapid remark on Keats’s “Ode on a Grecian
Urn,” for instance, is that it offers “a parable on the nature of
poetry” (153). However Brooks can anticipate Rancière: “the famous ode
was, for Keats, just such a poem, ‘palpable and mute,’ a poem in stone”
(151). And Brooks’s aesthetics of paradox can be harmonizing
<em xmlns="">and</em> uncomforting: the urn is “deathless because it is
lifeless” (157). This motif of mute speech is also present in the
Wordsworth and Thomas Gray chapters of <span xmlns="" class="titlem">The Well-Wrought
Urn</span> <a xmlns="http://www.w3.org/1999/xhtml" href="#back24">BACK</a></p></div>
<div class="note"><p class="letnote"><a name="25">[25] </a> De Man, “The
Resistance to Theory” 11. <a href="#back25">BACK</a></p></div>
</div>
</div></div></div></div><section class="field field-name-field-parent-section field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Section:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/node/31530">Pedagogies</a></div></div></section><section class="field field-name-field-resource-index field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Resource:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/pedagogies/commons/teaching_romanticism">Teaching Romanticism and Literary Theory</a></div></div></section><section class="field field-name-field-authored-by-secondary- field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Authored by (Secondary):&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/person/lindstrom-eric">Lindstrom, Eric</a></div></div></section><section class="field field-name-taxonomy-vocabulary-3 field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Tags:&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/taxonomy/term/1098" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Poetics</a></li><li class="field-item odd"><a href="/category/tags/lyricization" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">lyricization</a></li><li class="field-item even"><a href="/taxonomy/term/757" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">pedagogy</a></li><li class="field-item odd"><a href="/category/tags/genre-theory" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">genre theory</a></li><li class="field-item even"><a href="/category/tags/literary-ontology" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">literary ontology</a></li></ul></section><section class="field field-name-field-xml-tei field-type-link-field field-label-above view-mode-fulltext"><h2 class="field-label">XML:TEI:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="http://www.rc.umd.edu/sites/default/files/imported/pedagogies/commons/teaching_romanticism/pedagogies.commons.2016.teaching_romanticism.lindstrom.xml" target="_blank" class="teiButton">XML : TEI</a></div></div></section>Fri, 25 Nov 2016 15:21:34 +0000rc-admin120566 at http://www.rc.umd.eduRomantic Remediations: A Creative Writing Assignmenthttp://www.rc.umd.edu/pedagogies/contest/2015.block
<div class="field field-name-field-published field-type-date field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even"><span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2015-12-01T00:00:00-05:00">December 2015</span></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even" property="content:encoded"><h3 align="center">Romantic Remediations: A Creative Writing Assignment</h3>
<p><strong>Daniel Block<br />Visiting Assistant Professor, Five Colleges</strong></p>
<div id="accordion">
<h3><a href="#">Pedagogical Rationale</a></h3>
<div>
<p>“If one of the British Romantics were alive today, how would he or she craft a literary response to life in the twenty-first century? So even though Jane Austen, say, has been dead for almost two hundred years, imagine how she might react to the present day. Compose a poem or prose narrative that addresses our contemporary moment in the voice and characteristic literary style of a Romantic writer from the late eighteenth and early nineteenth century.” With this speculative exercise, I send students on a willfully anachronistic journey back to the future. Taking advantage of my position within a non-traditional humanities department, which does not define its literature courses by their period focus, I have offered two different versions of the assignment. For my Fall 2014 seminar on “Media Overload,” I invited students to reinvent Romantic-era writing via contemporary social media. Alternatively, my Spring 2014 course on “Affect in the Age of Terror” challenged students to respond to the Global War on Terror from a Romantic-era perspective. At least initially, some students were flummoxed by the challenge of jumping between the Romantic and the contemporary. Yet in both classes, I found that the assignment sparked an explosion of creativity from my first- and second-year undergraduates. </p>
<p>At its core, the prompt relies on the work of remediation to open up new creative possibilities. To introduce my key term, I assign excerpts from Jay Bolter and Richard Grusin’s <em>Remediation: Understanding New Media </em>(MIT Press, 1999). In that book, Bolter and Grusin define remediation as “a complex kind of borrowing in which one medium is itself incorporated or represented in another medium.” The task, as I present it to students, involves transposing Romantic literature into a new presentational format while simultaneously translating our present perspectives into a historical literary form.</p>
<p>The resulting writing exercise encourages students</p>
<ol><li>To put their close reading skills into practice by emulating a historical literary style;</li>
<li>To introduce creative writing into the toolbox of skills that they can use to engage with literary texts as well as their historical contexts;</li>
<li>To embrace anachronism, and by extension, the construct of “history”;</li>
<li>To make Romanticism doubly contemporary, which is to say characteristic of the present and simultaneous with the late eighteenth and early nineteenth century;</li>
<li>To justify their coursework by attempting to explain why it’s necessary to study Romanticism now.</li>
</ol><p>To prepare students for their end-of-semester projects, I assign a warm-up exercise that emphasizes the traditional skill of close reading: “Select a passage that best represents the Romantic-era writer you plan on addressing for the final creative project. Then use your close reading skills to identify the defining formal features of your chosen writer’s literary craft. Formulate a thesis that explains how the author synthesizes his or her preferred techniques into a unique voice.” If students are going to succeed at channeling the voice of a Romantic-era writer, they first need to be clear about what makes Wordsworth’s poetry recognizable. The answer has less to do with Wordsworth’s choice of subject matter than it does with the formal techniques he uses to express himself. So while many Romantics describe a love of nature, the choice to channel that interest into the form of a lyrical ballad is specific to Wordsworth (and Coleridge). As a side benefit, my preliminary assignment gets students working with a passage that can serve as a template for their own creative writing. Conjuring Austen’s voice <em>ex nihilo</em> is quite difficult; emulating the diction, syntax, rhetoric, imagery, etc. of a particular paragraph is, by contrast, a more manageable task. To reinforce the point, I devote class time to peer review workshops and ask students to revise their final creative projects in light of the feedback they receive.</p>
<p>In my experience, the results are overwhelmingly positive. Most recently, I offered my assignment to a seminar on “Media Overload: Digital-Age Reflections on the Explosion of Print” (Fall 2014), which examined the ways in which print culture of the long eighteenth century affords a historical perspective on our digital lives. Situated at the intersection of literary history and media history, the course asked students to consider how the internet has reignited old anxieties about writing's capacity to change who we are and how we relate to others. After a semester’s worth of readings that range from Locke to Stoker, my question was this: how would one of the writers on the syllabus participate in contemporary social media? To make the work of remediation tangible and concrete, I encouraged students to present their efforts on social media (i.e. Facebook, Instagram, Tumblr, Twitter, Wordpress, etc.). So rather than have students attempt to conceptualize the transformative effects of digitizing eighteenth-century print culture, my goal was to have everyone learn by doing. If anything, the assignment finally clicked when the class began to play around with disseminating their work online.</p>
<p>In response to the assignment, students produced a range of thought-provoking projects that transported a long eighteenth-century archive of texts into the realm of net art. Among the many impressive projects I received, several stand out: one student recreated the <em>Songs of Innocence and of Experience</em> in the style of ASCII art, surrounding her “Screen Songs” with images aggregated from individual keyboard characters. Another student, also working on Blake, turned “London” into an e-zine, which walked a fine line between channeling Blake’s voice and transforming the medium in which he wrote. The <em>pièce de résistance </em>was an adaptation of Keats “Ode on a Grecian Urn,” which converted the poem into a meditation on our digital lives: “Living offline is sweet, but online life / Is sweeter; therefore, mute dreamer, type on.” In passages like this one, the writer lets Keats’s famous cadence shine through even as she opens up the poetry to a twenty-first-century context that Keats never could have imagined. Even in those moments when the writing verges on becoming a parody, these projects achieve a vibrancy and vitality through the work of remediation, bringing Romantic literary forms into conversation with our contemporary media practices.</p>
<p>By comparison, my seminar on “Affect in the Age of Terror” (Spring 2014) sought to achieve different goals with the same assignment. In brief, the course drew on British Romantic literature as a medium for reflecting on our emotional life in the present. So instead of asking what makes the twenty-first-century experience of terror new, I posed a different question: namely, where have we already seen our own range of moods and structures of feeling before? Toward this end, I led the class through a series of texts – among them, Radcliffe’s <em>Udolpho</em>, Godwin’s <em>Caleb Williams</em>, and Austen’s <em>Persuasion</em> – that are fascinated by the ways in which impersonal historical forces condition one’s moods, sentiments, and visceral sensations. These readings serve, in turn, as the occasion to put British anxieties about the French “Reign of Terror” and subsequent Napoleonic Wars into dialogue with America’s cultural response to 9/11 and the so-called “War on Terror.” </p>
<p>Given these aims, my final assignment asked students to addresses the legacy of 9/11 in the style of a Romantic-era writer. In this way, the assignment challenged them to translate their contemporary experiences into a historical literary form and in doing so break with the generic conventions for representing our “now.” The result was a range of memorable projects. One student used Radcliffe’s technique of the “explained supernatural” to dramatize the anxious experience of encountering an unattended bag at the airport. Another offered a Radcliffean meditation on the medium of television news, whose war coverage evokes the melancholy presence of a lost love one. A third student drew upon Godwin’s <em>Caleb Williams </em>to describe the mix of curiosity and paranoia that plagues a Navy sailor charged with watching over the shrouded corpse of Osama bin Laden. </p>
<p>In all of these cases, students rely on Romantic literature to channel their own affective response to recent events. Such an approach suits today’s undergraduates, who were only in first or second grade when the World Trade Center and Pentagon attacks occurred. Experiencing 9/11 and its aftermath from a child’s perspective afford an intuitive grasp of the visceral yet inchoate force of history that eludes complete comprehension. Along these lines, the assignment’s creative writing component lets students follow Wordsworth’s or Austen’s example by tapping into the affective registers of historical consciousness that cannot quite be put into words. By asking students to transpose their present perspectives into a historical literary form, the prompt furthermore provides a framework for talking about the present in an altered key, as it were. The dissonance between form and content is, in fact, an indispensible tool for making one’s affective environment newly palpable as an object of analysis. The resulting exercise enables students to map their evolving mood since 9/11.</p>
<p>My experience in the classroom thus leads me to conclude that the work of remediation spurs students to open up new creative possibilities and thereby activate their engagement with British Romantic literature… if only we embrace the heresy of anachronism! The resulting projects demonstrate that first- and second-year undergraduates can make surprising yet compelling connections between the Romantic and the contemporary. For more information, see the appendix describing my sequence of assignments. Exemplary student work on Blake, Godwin, Keats, and Radcliffe is also appended. </p>
<hr /><p><em>Thank you to Joselyn Almeida-Beveridge, Andrew Burkett, and Manu Chander for their input and to my students for embracing a non-traditional assignment with such gusto. In particular, I would like to recognize Sarah Demarest, Teddy Miller, Dominic Poropat, and Natalie Roll, whose exemplary work is featured here. I am also grateful to Kate Singer for organizing NASSR’s yearly pedagogy panel.</em></p>
</div>
<h3><a href="#">A Sequence of Writing Prompts</a></h3>
<div>
<p><strong>Warm-up Exercise: Stylistic Analysis</strong></p>
<p><strong>Prompt</strong>: Select a passage that best represents the Romantic-era writer you plan on addressing for the final creative project. Then use your close reading skills to identify the defining formal features of your chosen writer’s literary craft. How does the writer use diction, meter, pace, pitch, punctuation, rhythm, rhyme, structure, syntax, tone, or visual layout, etc. to create a signature style? Formulate a thesis that explains how the author synthesizes his or her preferred techniques into a unique voice.</p>
<p><strong>Length:</strong> 5-6 pages</p>
<p> </p>
<p><strong>Draft of Romantic Remediation</strong></p>
<p><strong>Prompt:</strong> If one of the British Romantics were alive today, how would he or she craft a literary response to life in the twenty-first century? So even though Jane Austen has been dead for almost two hundred years, imagine how she might react to the present day. Compose a poem or prose narrative that addresses our contemporary moment in the voice and characteristic literary style of a Romantic writer from the late eighteenth and early nineteenth century. Bear in mind that while your piece should be written in a historical literary form, the content or subject matter should speak to the present. In order to better emulate your chosen author’s voice, work closely with a representative passage, which can serve as an exemplar or template for your efforts. </p>
<p> </p>
<p><strong>Revision Assignment</strong></p>
<p>Based on the feedback you received during your peer review session, it is now time to revise the draft of your Romantic remediation. In evaluating your work, consider these three key questions:</p>
<ol><li>How can you better emulate your chosen author’s voice or characteristic literary style?</li>
<li>How can you sharpen the connection between the Romantic and the contemporary?</li>
<li>How might you adapt the historical form of Romantic literature to facilitate its presentation on contemporary social media? </li>
</ol><p><strong>Length:</strong> No less than 40 lines of poetry or 8 pages of prose</p>
</div>
<h3><a href="#">Student Submissions</a></h3>
<div>
<p>Below is a sampling of work by students in PDF format:</p>
<p><a href="/sites/default/files/Blake%20remediation_London%20e-zine.pdf" target="_blank">An E-zine Reinterpretation of William Blake</a> | Sarah Demarest</p>
<p><a href="/sites/default/files/Godwin%20Remediation_Caleb%20Williams.pdf" target="_blank">Adael, or “The Bottom of the North Arabian Sea”: A Remediation of Godwin’s </a><em><a href="/sites/default/files/Godwin%20Remediation_Caleb%20Williams.pdf" target="_blank">Caleb Williams</a> </em>| Teddy Miller</p>
<p><a href="/sites/default/files/Keats%20remediation_Ode%20on%20a%20Grecian%20Urn.pdf" target="_blank">Ode to the Digital Sea: a Remediation of John Keats’s “Ode on a Grecian Urn”</a> | Natalie Roll</p>
<p><a href="/sites/default/files/Godwin%20Remediation_Caleb%20Williams.pdf">A Remediation of Ann Radcliffe’s <em>The Mysteries of Udolpho</em></a> | Dominic Poropat</p>
</div>
</div>
</div></div></div><section class="field field-name-field-parent-section field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Section:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/node/31530">Pedagogies</a></div></div></section><section class="field field-name-field-resource-index field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Resource:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/pedagogies/contest">NASSR/Romantic Circles Pedagogy Contest</a></div></div></section><section class="field field-name-field-authored-by-secondary- field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Authored by (Secondary):&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/person/block-daniel">Block, Daniel</a></div></div></section><section class="field field-name-taxonomy-vocabulary-3 field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Tags:&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/taxonomy/term/3601" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">syllabi</a></li><li class="field-item odd"><a href="/category/tags/syllabus-pedagogy-contest" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">syllabus Pedagogy Contest</a></li><li class="field-item even"><a href="/taxonomy/term/757" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">pedagogy</a></li></ul></section><section class="field field-name-field-syllabi-categories field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Syllabi Categories:&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/category/syllabi-categories/winners-nassrromantic-circles-pedagogy-contest" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Winners of the NASSR/Romantic Circles Pedagogy Contest</a></li></ul></section>Fri, 22 Jan 2016 18:40:11 +0000rc-admin83786 at http://www.rc.umd.eduA Wider World of Revolutionhttp://www.rc.umd.edu/pedagogies/contest/2015.reeder
<div class="field field-name-field-published field-type-date field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even"><span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2015-12-01T00:00:00-05:00">December 2015</span></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even" property="content:encoded"><h3 style="text-align: center;">A Wider World of Revolution</h3>
<p><strong>Jessie Reeder<br />Assistant Professor of English, Binghamton University</strong></p>
<p><em>The following materials are taken from a course taught at Rice University in Fall 2014.</em></p>
<div id="accordion">
<h3><a href="#">Prefatory Remarks</a></h3>
<div class="aligncenter">
<div>
<p><em>With many thanks to NASSR and Romantic Circles for sponsoring a pedagogy forum.</em></p>
<p>The attached materials come from a course called Revolutionary Writing. It was somewhat typical of a course on the Age of Revolution in that we moved chronologically through the American, French, and Haitian revolts. I focused on primary documents as well as critiques and responses, and we talked a lot about revolutionary rhetoric. I also used 8 conceptual terms as a skeleton for the course. As we moved through the three revolutions, we talked about how these concepts were being borrowed, critiqued, and revised:</p>
</div>
<div>
<ul><li>Liberty</li>
<li>Equality</li>
<li>Citizenship</li>
<li>The social contract</li>
<li>Enlightenment reason</li>
<li>The family of man</li>
<li>Representation</li>
<li>Subjectivity</li>
</ul></div>
<p>My main concern was that although the course was grounded historically and geographically, I wanted the students to see how revolutionary ideals have migrated across space and time, reappearing in other revolutions and social organizations, structuring our political conversations today, and in constant need of re-thinking and re-defending. But how to balance the geohistorically specific with the geohistorically expansive in a 15-week course? (As an added challenge, this particular course fulfilled a first-year writing requirement, so I gave even more than my usual attention to strategies and principles of composition.)</p>
<p>I decided to use the essay assignments to have the students teach themselves about the connections between the Age of Revolution and other places and times. I believe writing is <u>not </u>reportage of ideas already learned; it’s a form of learning on its own. So I gave three essay assignments asking students to make critical, researched, and creative links between principles of social organization in the Romantic period and “a wider world of revolution.”</p>
<p>In the essay highlighted here, students chose a revolution from a curated list—ranging from Liberia in 1847, to Cuba in the 1960s, to South Sudan in 2011. The issues at stake in these revolutions included forces as diverse as anticolonialism, indigenous rights, and white supremacy. They had three tasks: 1. Research the context and driving factors of their particular historical upheaval. 2. Analyze their revolution’s central document and argue in what ways it revised, challenged, borrowed, or rejected ideals set forth in the Romantic period. 3. Teach the class about it. Parts 1 and 2 constituted an analytical research paper. Part 3 gave us two class days of peer teaching, in which the students shared their work, giving us all a fascinating glimpse into a huge network of revolutionary ideas.</p>
<p>I have included a detailed course syllabus as well as a quick pictorial representation of the class structure. There is also a detailed assignment sheet for the particular assignment under examination. </p>
<p><img alt="" src="/sites/default/files/Pictorial%20Overview.jpg" style="width: 720px; height: 540px;" /></p>
</div>
<h3><a href="#">Essay Assignment: A Wilder World of Revolution</a></h3>
<div>
<div>
<p>MY TOPIC:</p>
<p>____________________________________________________</p>
<p>____________________________________________________</p>
<p>DUE:</p>
<ul><li>Thurs. 10/16: Annotated bibliography, worth 20 points (1 copy due in class)</li>
<li>Thurs. 10/23: Draft, worth 20 points (bring 3 copies to class)</li>
<li>Mon. 11/3: Final, worth 60 points (submission by 9am sharp in your Dropbox folder)</li>
</ul><p>LENGTH: 1500-2000 words</p>
<p>FORMAT: Double spaced<br />Include your name and a centered title</p>
<p>STYLE: Descriptive / Analytical</p>
<p>AUDIENCE: Another member of the class. This means you can assume your reader is familiar with our shared topics and concepts (such as subjectivity or the Family of Man) but not your specific subject matter.</p>
<p>PURPOSE: </p>
<ul><li>To understand some of the legacy of the American &amp; French revolutions in world history.</li>
<li>To see revolution as an ongoing historical process. To practice applying the core concepts of our course.</li>
<li>To conduct scholarly research and use it effectively in writing.</li>
<li>To understand and apply the difference between summary, synthesis, and analysis.</li>
</ul><p>TASK: In short, your job is to provide both a summary of your chosen revolutionary document’s historical context, and an analysis of its rhetoric. You should spend the first half of your essay on the former task, and the second half on the latter.</p>
<p> </p>
<h4 align="center"><strong>The Summary</strong></h4>
<p>In the first half of your essay, provide as much detail as your can about the circumstances surrounding your document. Questions you may want to answer include, but are not limited to the following:</p>
<ol><li>Who is declaring revolt? A nation? A colony? An army? Another kind of group?</li>
<li>Against whom are they fighting?</li>
<li>When and where in history does this take place?</li>
<li>What historical circumstances have led them to this? What history of oppression are they working to overthrow?</li>
<li>What do they ask for or proclaim in the document?</li>
<li>Who wrote the document?</li>
<li>Was there controversy? How was it received?</li>
<li>Did the document have an immediate effect? Or not?</li>
</ol><p>Depending on your particular topic, some of these questions may be easy to find the answers to, and others may be trickier. Make a good effort to cover as much information as your reader would naturally be curious to know, and to provide a comprehensive context for the significance of your document.</p>
</div>
<h4 align="center">The Analysis</h4>
<p>In the second half of your essay, you will switch from historical summary to your own analysis. This means you should develop an interpretation of the document you are studying. <u>You should focus primarily on answering the following question</u>:</p>
<ol><li>Demonstrate how the document you are analyzing relates to <u>two </u>of our class concepts—citizenship, the social contract, subjectivity, Enlightenment reason, and the Family of Man. Does it promote them, overturn them, reimagine them, fail to live up to them?</li>
</ol><p>Beyond this, feel free to include or move on to further analysis. Questions you might ask yourself along the way could be:</p>
<ol><li>How effective is the rhetoric of the document to the task it has set for itself?</li>
<li>Does it seem inspired by the American or French revolutionary documents?</li>
<li>Is the document internally consistent? Does it contradict itself in any way?</li>
<li>What are its implied ethics?</li>
<li>What is surprising or unusual about this document?</li>
<li>In its attempt to liberate certain people, does it ignore or abuse others?</li>
</ol><p>SOURCES: </p>
<p>You must cite at least three sources.</p>
<p>One of these must be a peer-reviewed journal article.</p>
<p>The other two may be: newspaper articles, online material from reputable sources, books, and/or more peer-reviewed articles.</p>
<p>In the summary portion of your essay, you <u>must </u>use sources. I will presume you know relatively little about your topic when you begin, which means that whatever knowledge you uncover will be the result of research. Cite that research appropriately.</p>
<p>In the analysis portion of your essay, you <u>may </u>use sources, but these must be in service to the presentation of your own original argument. You should primarily be citing quotes from your document to prove your arguments about it.</p>
<p>PROCESS: </p>
<p>You will be most successful if you move through this assignment in deliberate stages:</p>
<ol><li>Find, read, and take notes on your document. Try to understand it.</li>
<li>Get yourself some context. Wikipedia is a great place for this, as are other internet sites. You are not looking for sources for your essay, and you should not cite Wikipedia or other unreputable sources. But it’s a good idea to read around a little and familiarize yourself with the general who/what/when/where/why of your document.</li>
<li>Conduct purposeful research for sources you will use in your essay. Your goal with these sources is to establish a scholarly, reputable historical context for your document.</li>
<li>Read each source and take notes on it. Produce an annotated bibliography.</li>
<li>Outline the essay according to the order of ideas you want to present.</li>
<li value="6">Begin writing, using the sources you need to make your points.</li>
</ol><h4> </h4>
<h4 style="text-align: center;">Essay Sign-up Sheet</h4>
<table cellspacing="0" style="border:1px solid #333;"><tbody style="vertical-align:top;"><tr style="border:1px solid #333;vertical-align:top;"><td style="border:1px solid #333;">
<p>DOCUMENT</p>
</td>
<td style="border:1px solid #333;">
<p>DATE</p>
</td>
<td style="border:1px solid #333;">
<p>NATION (or group)</p>
</td>
<td style="border:1px solid #333;">
<p>YOUR NAME</p>
</td>
</tr><tr style="border:1px solid #333;vertical-align:top;"><td style="border:1px solid #333;">
<p> </p>
</td>
<td style="border:1px solid #333;">
<p> </p>
</td>
<td style="border:1px solid #333;">
<p> </p>
</td>
<td style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;vertical-align:top;"><td style="border:1px solid #333;">
<p>The Treaty of Waitangi</p>
</td>
<td style="border:1px solid #333;">
<p>1840</p>
</td>
<td style="border:1px solid #333;">
<p>New Zealand</p>
</td>
<td style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;vertical-align:top;"><td style="border:1px solid #333;">
<p>Declaration of Independence of the Democratic Republic of Viet Nam</p>
</td>
<td style="border:1px solid #333;">
<p>1945</p>
</td>
<td style="border:1px solid #333;">
<p>Vietnam</p>
</td>
<td style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;vertical-align:top;"><td style="border:1px solid #333;">
<p>The Resolution on Imperialism and Colonialism &amp; the Resolution on Racialism and Discriminatory Laws and Practices</p>
</td>
<td style="border:1px solid #333;">
<p>1958-61</p>
</td>
<td style="border:1px solid #333;">
<p>All-African People’s Conference</p>
</td>
<td style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;vertical-align:top;"><td style="border:1px solid #333;">
<p>Unilateral Declaration of Independence</p>
</td>
<td style="border:1px solid #333;">
<p>1965</p>
</td>
<td style="border:1px solid #333;">
<p>Rhodesia</p>
</td>
<td style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;vertical-align:top;"><td style="border:1px solid #333;">
<p>The Easter Proclamation</p>
</td>
<td style="border:1px solid #333;">
<p>1916</p>
</td>
<td style="border:1px solid #333;">
<p>Ireland</p>
</td>
<td style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;vertical-align:top;"><td style="border:1px solid #333;">
<p>The Declaration of the Continuance of the State of Murrawarri Nation</p>
</td>
<td style="border:1px solid #333;">
<p>2013</p>
</td>
<td style="border:1px solid #333;">
<p>Murrawarri Republic</p>
</td>
<td style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;vertical-align:top;"><td style="border:1px solid #333;">
<p>Venezuelan Declaration of Independence</p>
</td>
<td style="border:1px solid #333;">
<p>1811</p>
</td>
<td style="border:1px solid #333;">
<p>Venezuela</p>
</td>
<td style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;vertical-align:top;"><td style="border:1px solid #333;">
<p>Declaration of the Establishment of the State of Israel</p>
</td>
<td style="border:1px solid #333;">
<p>1948</p>
</td>
<td style="border:1px solid #333;">
<p>Israel</p>
</td>
<td style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;vertical-align:top;"><td style="border:1px solid #333;">
<p>Transitional Constitution of the Republic of South Sudan (Ch. I)</p>
</td>
<td style="border:1px solid #333;">
<p>2011</p>
</td>
<td style="border:1px solid #333;">
<p>South Sudan</p>
</td>
<td style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;vertical-align:top;"><td style="border:1px solid #333;">
<p>Proclamation of the Nagorno Karabakh Republic</p>
</td>
<td style="border:1px solid #333;">
<p>1991</p>
</td>
<td style="border:1px solid #333;">
<p>Nagorno Karabakh Republic</p>
</td>
<td style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;vertical-align:top;"><td style="border:1px solid #333;">
<p>The First (or Second) Declaration of Havana – your choice</p>
</td>
<td style="border:1px solid #333;">
<p>1960/2</p>
</td>
<td style="border:1px solid #333;">
<p>Cuba</p>
</td>
<td style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;vertical-align:top;"><td style="border:1px solid #333;">
<p>1st and 2nd Declarations of the Lacandon Jungle</p>
</td>
<td style="border:1px solid #333;">
<p>1994</p>
</td>
<td style="border:1px solid #333;">
<p>Zapatista Army of National Liberation</p>
</td>
<td style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;vertical-align:top;"><td style="border:1px solid #333;">
<p>The Greek Declaration Of Independence</p>
</td>
<td style="border:1px solid #333;">
<p>1822</p>
</td>
<td style="border:1px solid #333;">
<p>Greece</p>
</td>
<td style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;vertical-align:top;"><td style="border:1px solid #333;">
<p>Declaration of Independence</p>
</td>
<td style="border:1px solid #333;">
<p>1930</p>
</td>
<td style="border:1px solid #333;">
<p>India</p>
</td>
<td style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;vertical-align:top;"><td style="border:1px solid #333;">
<p>The Common Program</p>
</td>
<td style="border:1px solid #333;">
<p>1949</p>
</td>
<td style="border:1px solid #333;">
<p>The People’s Republic of China</p>
</td>
<td style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;vertical-align:top;"><td style="border:1px solid #333;">
<p>Declaration of Continuing Independence</p>
</td>
<td style="border:1px solid #333;">
<p>1974</p>
</td>
<td style="border:1px solid #333;">
<p>Natives of the Americas</p>
</td>
<td style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;vertical-align:top;"><td style="border:1px solid #333;">
<p>Declaration of Independence</p>
</td>
<td style="border:1px solid #333;">
<p>1847</p>
</td>
<td style="border:1px solid #333;">
<p>Liberia</p>
</td>
<td style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;vertical-align:top;"><td style="border:1px solid #333;">
<p>Declaration of Independence</p>
</td>
<td style="border:1px solid #333;">
<p>2008</p>
</td>
<td style="border:1px solid #333;">
<p>Kosovo</p>
</td>
<td style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;vertical-align:top;"><td style="border:1px solid #333;">
<p>Proclamation of the National Liberation Front</p>
</td>
<td style="border:1px solid #333;">
<p>1954</p>
</td>
<td style="border:1px solid #333;">
<p>Algeria</p>
</td>
<td style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;vertical-align:top;"><td style="border:1px solid #333;">
<p>Palestinian Declaration of Independence</p>
</td>
<td style="border:1px solid #333;">
<p>1988</p>
</td>
<td style="border:1px solid #333;">
<p>Palestine</p>
</td>
<td style="border:1px solid #333;"> </td>
</tr></tbody></table><p> </p>
<h4 style="text-align: center;"><strong>Essay 2 Rubric</strong></h4>
<table cellpadding="0" cellspacing="0" style="border:1px solid #333;"><tbody><tr style="border:1px solid #333;"><td colspan="2" style="border:1px solid #333;">
<p> </p>
</td>
<td style="border:1px solid #333;">
<p>Weak</p>
</td>
<td style="border:1px solid #333;">
<p>Adequate</p>
</td>
<td style="border:1px solid #333;">
<p>Strong</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>Audience</p>
</td>
<td style="border:1px solid #333;">
<p>Is the essay properly addressed to its audience (a class member), teaching what’s new without re-teaching what’s known? Does it employ appropriate tone and style?</p>
</td>
<td colspan="3" style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>Summary and Synthesis</p>
</td>
<td style="border:1px solid #333;">
<p>Does the first half of the essay provide a comprehensive context for the revolution? Does it avoid opinion and analysis? Does it summarize the context (using sources as needed), rather than summarizing each source?</p>
</td>
<td colspan="3" style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>Analysis</p>
</td>
<td style="border:1px solid #333;">
<p>Does the analysis section of the essay answer the central prompt? Does it avoid yes/no, black/white thinking? Does it engage thoughtfully with our course concepts? Does it cite the primary document as evidence and do detailed analysis of quotes?</p>
</td>
<td colspan="3" style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>Overall Organization</p>
<p>or “Flow”</p>
</td>
<td style="border:1px solid #333;">
<p>Is each paragraph well organized around one main idea, with a clear topic sentence? Do the paragraphs build on each other (staircase), moving toward greater complexity? Are transitions logical rather than arbitrary?</p>
</td>
<td colspan="3" style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>Use of Sources</p>
</td>
<td style="border:1px solid #333;">
<p>Have sources been chosen well? Are the quotes “sandwiched”? Has plagiarism been avoided through proper quoting and paraphrase?</p>
</td>
<td colspan="3" style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>Language</p>
</td>
<td style="border:1px solid #333;">
<p>Is the writing clear and specific? Does it avoid clutter, cliché, and vagueness? Does it avoid repetition? Does it use surprising or unique language? Does it vary its sentences by length and structure?</p>
</td>
<td colspan="3" style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>Polish</p>
</td>
<td style="border:1px solid #333;">
<p>Does the piece fulfill all of the content requirements of the assignment? Are there typos or grammatical mistakes? Is it the proper length and format?</p>
</td>
<td colspan="3" style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>Revision</p>
</td>
<td style="border:1px solid #333;">
<p>Has the author done significant revision between drafts—more than just proofreading and adding a few sentences? Has the author re-thought his/her piece and made global changes to style and content?</p>
</td>
<td colspan="3" style="border:1px solid #333;">
<p> </p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>The “X” Factor</p>
</td>
<td style="border:1px solid #333;">
<p>Is there something special about this piece? Is it particularly memorable, creative, gripping, well-written? Does it stand out from peers’ writing?</p>
</td>
<td colspan="3" style="border:1px solid #333;">
<p> </p>
</td>
</tr></tbody></table></div>
<h3><a href="#">Syllabus</a></h3>
<div>
<div>
<h3>Revolutionary Writing</h3>
<p>Dr. Jessie Reeder <a href="mailto:jreeder@rice.edu">jreeder@rice.edu</a> Herring 326</p>
<p>Office Hours: by appointment</p>
<p>Revolution has made us who we are. As you sit in a classroom in a U.S. university, your access to education, your career opportunities, your rights as a citizen—your very ability to read and write—have all been shaped by the revolutionaries of the past who fought to change the entire social order they lived in. In this seminar we will look back at a thirty-year period when the Atlantic world was shaken by revolutions that created new nations, upset traditional arrangements of class, began to undo the stranglehold of the slave trade, and shook the world’s great powers to their core. Between 1775-1805, the American colonies won their independence from the British Empire and established what would be the world power of the United States, France was thrust into an upheaval that terrified Europe and changed the way modern societies were shaped, and the revolt in Haiti led to that nation’s abolishment of slavery and freedom from France. To live through this period was to experience seismic changes in the idea of social structure, as the “new world” broke free from the “old world” and oppressed groups began to claim—and win—certain rights and recognitions. Our very idea of democratic society was born in these fifty years of radical change.</p>
<p>How did these revolutions change the meaning of a community? How did people argue for new relationships with their communities? New rights, new freedoms, new recognitions? Were they trying to change the community they lived in, or make a totally new one? As war established new political realities, how did the victors define citizens and subjects in their new nations? How did individuals (revolutionaries, soldiers, slaves) speak for groups of people? Who was included in the categories of <em>égalité </em>and <em>fraternité</em>? What about women, indigenous people, the working classes, the mad? In this seminar we will read across a wide variety of genres—speeches, letters, essays, constitutions, poetry, and fiction—to understand how revolutionaries in this historical period employed the rhetoric of individual rights to argue for and establish new communities. And we will think about the notions of community and belonging that we still have today because of these historical upheavals. All readings will be assigned electronically as PDFs (so budget for printing). There are no required textbooks.</p>
<h4>Learning Goals:</h4>
<ul><li>Become conversant in the history of the American, French, and Haitian revolutions.</li>
<li>Understand how these historical events shaped our modern societies.</li>
<li>Develop the ability to discuss and argue the issues raised by revolution, including citizenship, community, rights, liberty, and power.</li>
<li>Enhance understanding of the central place of writing and communication in the learning process and in academic life.</li>
<li>Learn strategies for analyzing, synthesizing, and responding to college-level materials.</li>
<li>Improve ability to communicate correctly and effectively in writing and in speech, taking into account audience and purpose.</li>
<li>Become comfortable with writing as a process and learn strategies—for instance, prewriting, outlining, and revision—for working through that process.</li>
<li>Learn appropriate use of the work of others and, where necessary, specific practices of citation.</li>
<li>Learn to articulate arguments and to respond productively to arguments of others in writing, discussion, and presentations.</li>
</ul></div>
<div>
<h4>Readings for the Semester:</h4>
<p>Primary Documents</p>
<ul><li>The U.S. Declaration of Independence (1776)</li>
<li>Thomas Paine, <em>Common Sense </em>(1776)</li>
<li>The Seneca Falls Declaration (1848)</li>
<li>Frederick Douglass, “What to a Slave is the Fourth of July?” (1852)</li>
<li>Abbé Sieyès, “What is the Third Estate?” (1789)</li>
<li>The Declaration of the Rights of Man (1789)</li>
<li>Edmund Burke, <em>Reflections on the Revolution in France </em>(excerpts) (1790)</li>
<li>Olympe de Gouge, “The Rights of Woman” (1791)</li>
<li><em>The Code Noir </em>(1685)</li>
<li>Letters from the Slave Revolt in Martinique (1789)</li>
<li>Address from the Free Citizens of Color (1789)</li>
<li>Olympe de Gouges, “Preface to <em>The Slavery of the Blacks</em>” (1792)</li>
<li>Jean-Paul Marat, <em>Friend of the People </em>(1792)</li>
<li>Léger Sonthonax, <em>Decree of General Liberty </em>(1793)</li>
<li>Étienne Polverel’s Plantation Policies (1794)</li>
<li>Haitian Declaration of Independence (1804)</li>
<li>Haitian Constitution (1805)</li>
</ul><p>Critical Sources</p>
<ul><li>“An Age of Revolution” from the <em>Norton Anthology of World Literature, vol. E</em></li>
<li>Samuel Huntington, “Revolution and Political Order” (excerpts)</li>
<li>Film: <em>Égalité for All: Toussaint Louverture and the Haitian Revolution</em></li>
<li>Film: <em>Liberté, Egalité, Fraternité: A New Republic is Born in Blood</em></li>
</ul><p>Reading About Writing</p>
<ul><li>Anne Lamott, “Shitty First Drafts”</li>
<li>Paul Roberts, “How to Say Nothing in 500 Words”</li>
<li>William Zinsser, <em>On Writing Well </em>(excerpts)</li>
<li>Selections from <em>They Say/I Say</em>: “Her Point Is” “As He Himself Puts It”</li>
</ul><h4>Policies and Expectations:</h4>
<ol><li><u>Attendance</u>. You are permitted two unexcused absences (this includes minor illness). Subsequent absences will cost you points from your participation grade. More than five absences will be docked directly from your <em>final </em>grade in the course. Consistent or extreme lateness will also affect your participation grade. Absences may be excused at my discretion for valid reasons (including major illness, emergency, and university-sponsored sports/travel), but you must contact me <em>before you miss class</em>. If you miss class, no matter what the reason, it will be your responsibility to find out what you missed. I will not provide summaries of missed class content—for this you should seek a classmate’s help—but if you reach out and ask me, I will do my best to remember any important announcements I covered.<br /> </li>
<li value="2"><u>Participation</u>. You are expected to be an active participant in our class. Education does not mean passively listening to and acquiring facts. It is a process of becoming fluent in new ideas and discovering your own thoughts and values. You cannot do this in silence—you must question, hypothesize, and argue. To receive full participation credit in this class you must: consistently take part in our class discussions, be respectful of others’ opinions, respond to your classmates’ ideas (rather than just waiting for your turn to talk), and engage thoughtfully in peer review.</li>
</ol></div>
<div>
<ol><li value="3"><u>Classroom Etiquette</u>. Please be “present” in class by not using anything with a screen—no laptops, tablets, or phones. The point of our class is not to transcribe what’s being said but to listen and participate. You must bring pen and paper for jotting down new ideas and participating in in-class activities. You must also bring a printed copy of the day’s reading with you to every class meeting. If you consistently fail to have the reading with you, this will affect your participation grade.<br /> </li>
<li value="4"><u>Thought Papers</u>. In this class, as in life, writing is more than just an assignment. It’s how we figure out what we think and how we try to persuade others to think the same way. You will write regular response papers as you develop your beliefs this semester. The thought papers are designed to help you think about the readings, jump-start class discussion, and build toward the longer essays. If you put some mental energy into your thought papers, you should have no trouble participating in class and getting started on your longer essays. There are no right or wrong answers to the thought paper prompts. You are simply figuring out what you believe. <em>Thought papers must be submitted in hard copy at the beginning of class.</em><br /> </li>
<li value="5"><u>Essays</u>. Writing is a process, not a product. No one, not even the most experienced writers, sits down and types a perfect essay in one go. Skilled writers brainstorm, draft, seek feedback, revise, revise, and revise. We will focus on all of these stages in order to help you develop habits that will make you a successful writer in this class, in college, and beyond. I expect you to embrace the process of writing and put your full effort into each stage.
<p>You will write three longer assignments this semester. In topic, they all focus on our course theme of revolution. In form and style, they build in complexity. In the first essay we will work on writing skills that help you reach your audience: clarity, style, concision, and rhetoric. In the second essay, you will learn how to do research and properly summarize and synthesize sources. The final essay brings all of these skills together as you will make a persuasive argument of your own, but one that uses sources in order to be persuasive.<br /> </p></li>
<li value="6"><u>Presentations</u>. I know that public speaking can be nerve-wracking, but no matter what field you go into, you will need to communicate your ideas to others. Sometimes you will do this in writing, but sometimes you will need to give presentations. We will discuss good strategies for presenting ideas and you will give two presentations. You will be expected to give presentations in PowerPoint format, so make sure you have access to this program on your personal computer or in the library.<br /> </li>
<li value="7"><u>Extensions and Late Work</u>. Thought Papers will not be accepted late or granted extensions. You are welcome to submit them early if you know you will miss class or if it helps you budget your week. Longer essays will lose 5 points every calendar day they are late. In the case of emergencies, extensions may be granted on a case-by-case basis at my discretion. Extracurricular commitments, social activities, and work for other courses will <em>not </em>be considered as grounds for an extension. Planning and budgeting your time even when busy is one of the skills you need to acquire in college.<br /> </li>
<li value="8"><u>Plagiarism</u>. In the university, as in the “real world,” you will be subject to severe consequences if you use the words or ideas of someone else without proper citation. This includes, but is not limited to: submitting an essay that someone else wrote as your own work; presenting the ideas of any source (including online analysis guides such as sparknotes) as though they are your own; using the direct words of any source without quotation marks or proper paraphrase; failing to provide citation for any source used. Please consult the university honor code (<a href="http://www.ruf.rice.edu/%7Ehonor)">www.ruf.rice.edu/~honor)</a> or me if you have any questions about what constitutes plagiarism. Any instance of academic misconduct will be punished according to university policy. <strong>Remember</strong>: It is always better to submit an assignment late than to submit plagiarized work!!</li>
</ol></div>
<div>
<ol><li value="9"><u>Disabilities</u>. Any student with a documented disability seeking academic adjustments or accommodations is requested to speak with me during the first two weeks of class. All discussions will remain as confidential as possible. Students with disabilities will need to contact Disability Support Services in the Allen Center.<br /> </li>
<li value="10"><u>Resources</u></li>
</ol><ol start="1" style="list-style-type: lower-alpha;"><li>Me! I am more than happy to help you during your writing process. But I won’t read drafts over email. Just come to my office hours or make an appointment and I will be thrilled to help you brainstorm or work through a draft. I would also be delighted to meet with you and talk about anything related to the course—or anything else.</li>
<li>Each other. We don’t write and think in a vacuum; we communicate with others. Your classmates are an ideal audience to test ideas. Feel free to seek each other out and make writing groups.</li>
<li>The Center for Written, Oral, and Visual Communication (CWOVC). This is a tremendous resource you would do well to use throughout your time in college. You can make 40-minute appointments with a consultant who will help you brainstorm, organize, and clarify your ideas for written or oral assignments. Make an appointment at: cwovc.rice.edu.</li>
</ol><p> </p>
<p><strong>Grade Distribution</strong><br /></p><table border="0" cellpadding="0" cellspacing="0"><tbody><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>10%</p>
</td>
<td style="border:1px solid #333;">
<p>Oral Presentations</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>15%</p>
</td>
<td style="border:1px solid #333;">
<p>Participation / Peer Review</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>15%</p>
</td>
<td style="border:1px solid #333;">
<p>Thought Papers</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>15%</p>
</td>
<td style="border:1px solid #333;">
<p>Essay 1</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>20%</p>
</td>
<td style="border:1px solid #333;">
<p>Essay 2</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>25%</p>
</td>
<td style="border:1px solid #333;">
<p>Essay 3</p>
</td>
</tr></tbody></table><p> </p>
<p><strong>Grading Scale</strong>: </p>
<p>98-100 A+</p>
<p>92-98 A</p>
<p>90-92 A-</p>
<p>88-90 B+</p>
<p>82-88 B</p>
<p>80-82 B-</p>
<p>78-80 C+</p>
<p>72-78 C</p>
<p>70-72 C-</p>
<p>68-70 D+</p>
<p>62-68 D</p>
<p>60-62 D-</p>
<p>* FWIS cannot be taken pass/fail, and it cannot be dropped.</p>
</div>
<p>
</p><div>
<h4>COURSE CALENDAR</h4>
<p>Assignments and readings are subject to change. All changes will be announced in class <u>and</u> via email.</p>
<h4>American Revolution // Making Arguments</h4>
<table border="1" cellpadding="0" cellspacing="0"><tbody><tr style="border:1px solid #333;"><td colspan="2" style="border:1px solid #333;">
<p> </p>
</td>
<td style="border:1px solid #333;">
<p><strong>TOPIC</strong></p>
</td>
<td style="border:1px solid #333;">
<p><strong>READING</strong></p>
</td>
<td style="border:1px solid #333;">
<p><strong>ASSIGNMENT</strong></p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>T</p>
</td>
<td style="border:1px solid #333;">
<p>8/26</p>
</td>
<td style="border:1px solid #333;">
<p>The Ages of Reason and Revolution; Intro to American Revolution</p>
</td>
<td style="border:1px solid #333;">
<p>☺</p>
</td>
<td style="border:1px solid #333;">
<p>☺</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>R</p>
</td>
<td style="border:1px solid #333;">
<p>8/28</p>
</td>
<td style="border:1px solid #333;">
<p>Why Revolt?</p>
<p>What Makes a Citizen?</p>
</td>
<td style="border:1px solid #333;">
<ul><li>“An Age of Revolution”</li>
<li>“Declaration of Independence” (1776)</li>
<li>Lamott, “Shitty First Drafts”</li>
</ul></td>
<td style="border:1px solid #333;">
<p>Thought Paper 1 due at start of class</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>T</p>
</td>
<td style="border:1px solid #333;">
<p>9/2</p>
</td>
<td style="border:1px solid #333;">
<p>Rhetoric of Revolution</p>
</td>
<td style="border:1px solid #333;">
<ul><li>Paine, <em>Common Sense </em>(1776)</li>
</ul></td>
<td style="border:1px solid #333;">
<p>☺</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>R</p>
</td>
<td style="border:1px solid #333;">
<p>9/4</p>
</td>
<td style="border:1px solid #333;">
<p>The Rhetoric of Imitation and Satire</p>
</td>
<td style="border:1px solid #333;">
<ul><li>“Seneca Falls Declaration” (1852)</li>
</ul></td>
<td style="border:1px solid #333;">
<p>Thought Paper 2 due at start of class</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>T</p>
</td>
<td style="border:1px solid #333;">
<p>9/9</p>
</td>
<td style="border:1px solid #333;">
<p>Who Gets to be a Citizen?</p>
</td>
<td style="border:1px solid #333;">
<ul><li>Douglass, “What to a Slave is the Fourth of July?” (1852)</li>
</ul></td>
<td style="border:1px solid #333;">
<p>☺</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>R</p>
</td>
<td style="border:1px solid #333;">
<p>9/11</p>
</td>
<td style="border:1px solid #333;">
<p><u>Writing</u>: Clarity and Concision</p>
</td>
<td style="border:1px solid #333;">
<ul><li>Roberts, “How to Say Nothing”</li>
<li>Zinsser, <em>On Writing Well </em>(excerpts)</li>
</ul></td>
<td style="border:1px solid #333;">
<p>Thought Paper 3 due at start of class</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>T</p>
</td>
<td style="border:1px solid #333;">
<p>9/16</p>
</td>
<td style="border:1px solid #333;">
<p>How to Peer Review</p>
</td>
<td style="border:1px solid #333;">
<ul><li>Bring “Declaration of Independence” to class with you</li>
</ul></td>
<td style="border:1px solid #333;">
<p>☺</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>R</p>
</td>
<td style="border:1px solid #333;">
<p>9/18</p>
</td>
<td style="border:1px solid #333;">
<p><u>Writing</u>: Giving Presentations</p>
</td>
<td style="border:1px solid #333;">
<p>☺</p>
</td>
<td style="border:1px solid #333;">
<p>Draft of Essay 1 due at start of class (bring 3 copies)</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>T</p>
</td>
<td style="border:1px solid #333;">
<p>9/23</p>
</td>
<td style="border:1px solid #333;">
<p>Peer Review; First 5 presentations</p>
</td>
<td style="border:1px solid #333;">
<ul><li>Your peer group’s essays</li>
</ul></td>
<td style="border:1px solid #333;">
<p>Peer comments prepared (2 copies of each)</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>R</p>
</td>
<td style="border:1px solid #333;">
<p>9/25</p>
</td>
<td style="border:1px solid #333;">
<p>Presentations</p>
</td>
<td style="border:1px solid #333;">
<p>☺</p>
</td>
<td style="border:1px solid #333;">
<p>5-minute presentation</p>
</td>
</tr></tbody></table></div>
<p>
</p><div>
<p><strong>French Revolution // Summarizing and Synthesizing Sources</strong></p>
<p> </p>
<table border="1" cellpadding="0" cellspacing="0"><tbody><tr style="border:1px solid #333;"><td colspan="2" style="border:1px solid #333;">
<p> </p>
</td>
<td style="border:1px solid #333;">
<p><strong>TOPIC</strong></p>
</td>
<td style="border:1px solid #333;">
<p><strong>READING</strong></p>
</td>
<td style="border:1px solid #333;">
<p><strong>ASSIGNMENT</strong></p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>M</p>
</td>
<td style="border:1px solid #333;">
<p>9/29</p>
</td>
<td colspan="2" style="border:1px solid #333;">
<p><strong>NOT</strong> <strong>A CLASS DAY</strong></p>
</td>
<td style="border:1px solid #333;">
<p><strong>ESSAY ONE DUE electronically by 9:00am</strong></p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>T</p>
</td>
<td style="border:1px solid #333;">
<p>9/30</p>
</td>
<td style="border:1px solid #333;">
<p>Intro: French Revolution Writing: Paragraphs, Quoting</p>
<p>**Select topics for Essay 2**</p>
</td>
<td style="border:1px solid #333;">
<ul><li>Watch film: <em>Liberté, Egalité, Fraternité: A New Republic is Born in Blood </em>(100 min)</li>
</ul></td>
<td style="border:1px solid #333;">
<p>☺</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p> </p>
<p>R</p>
</td>
<td style="border:1px solid #333;">
<p> </p>
<p>10/2</p>
</td>
<td style="border:1px solid #333;">
<p>The Social Contract <u>Writing</u>: Summary vs.</p>
<p>Synthesis</p>
</td>
<td style="border:1px solid #333;">
<ul><li>Sieyès, “What is the Third Estate?” (1789)</li>
<li>“Declaration of the Rights of Man” (1789)</li>
<li>“Her Point Is”</li>
<li>“As He Himself Puts It”</li>
</ul></td>
<td style="border:1px solid #333;">
<p>Thought Paper 4 due at start of class</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>T</p>
</td>
<td style="border:1px solid #333;">
<p>10/7</p>
</td>
<td style="border:1px solid #333;">
<p>Choosing Sources <strong>Library Day </strong>– Meet at the Reference Desk in Fondren</p>
</td>
<td style="border:1px solid #333;">
<p>☺</p>
</td>
<td style="border:1px solid #333;">
<p>☺</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>R</p>
</td>
<td style="border:1px solid #333;">
<p>10/9</p>
</td>
<td style="border:1px solid #333;">
<p>The Limits of Freedom: Rights vs. Responsibilities</p>
</td>
<td style="border:1px solid #333;">
<ul><li>Burke, <em>Reflections on the Revolution in France </em>(1790)</li>
<li>Olympe de Gouge, “The Rights of Woman” (1791)</li>
</ul></td>
<td style="border:1px solid #333;">
<p>Thought Paper 5 due at start of class</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>T</p>
</td>
<td style="border:1px solid #333;">
<p>10/14</p>
</td>
<td colspan="2" style="border:1px solid #333;">
<p><strong>Midterm Recess – NO CLASS</strong></p>
</td>
<td style="border:1px solid #333;">
<p>☺</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>R</p>
</td>
<td style="border:1px solid #333;">
<p>10/16</p>
</td>
<td style="border:1px solid #333;">
<p>A Return to Rhetoric; Tips for preparing your essay</p>
</td>
<td style="border:1px solid #333;">
<ul><li>Bring 10/9 reading to class again.</li>
</ul></td>
<td style="border:1px solid #333;">
<p>Annotated bibliography due at start of class</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>T</p>
</td>
<td style="border:1px solid #333;">
<p>10/21</p>
</td>
<td colspan="2" style="border:1px solid #333;">
<p><strong>Writing Time – NO CLASS</strong></p>
</td>
<td style="border:1px solid #333;">
<p>☺</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>R</p>
</td>
<td style="border:1px solid #333;">
<p>10/23</p>
</td>
<td style="border:1px solid #333;">
<p>Comparing Revolutions</p>
</td>
<td style="border:1px solid #333;">
<ul><li>Huntington, “Revolution and Political Order” (excerpts)</li>
</ul></td>
<td style="border:1px solid #333;">
<p>Draft of Essay 1 due at start of class (bring 3 copies)</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>T</p>
</td>
<td style="border:1px solid #333;">
<p>10/28</p>
</td>
<td style="border:1px solid #333;">
<p>Peer Review; First 5 presentations</p>
</td>
<td style="border:1px solid #333;">
<ul><li>Your peer group’s essays</li>
</ul></td>
<td style="border:1px solid #333;">
<p>Peer comments prepared (2 copies of each)</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>R</p>
</td>
<td style="border:1px solid #333;">
<p>10/30</p>
</td>
<td style="border:1px solid #333;">
<p>Presentations</p>
</td>
<td style="border:1px solid #333;">
<p>☺</p>
</td>
<td style="border:1px solid #333;">
<p>5-minute presentation</p>
</td>
</tr></tbody></table></div>
<p>
</p><div>
<p><strong>Haitian Slave Revolt // Making an Argument in Conversation with Sources</strong></p>
<p> </p>
<table border="1" cellpadding="0" cellspacing="0"><tbody><tr style="border:1px solid #333;"><td colspan="2" style="border:1px solid #333;">
<p> </p>
</td>
<td style="border:1px solid #333;">
<p><strong>TOPIC</strong></p>
</td>
<td style="border:1px solid #333;">
<p><strong>READING</strong></p>
</td>
<td style="border:1px solid #333;">
<p><strong>ASSIGNMENT</strong></p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>M</p>
</td>
<td style="border:1px solid #333;">
<p>11/3</p>
</td>
<td colspan="2" style="border:1px solid #333;">
<p><strong>NOT</strong> <strong>A CLASS DAY</strong></p>
</td>
<td style="border:1px solid #333;">
<p><strong>ESSAY TWO DUE electronically by 9:00am</strong></p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>T</p>
</td>
<td style="border:1px solid #333;">
<p>11/4</p>
</td>
<td style="border:1px solid #333;">
<p>Introduction: Haitian Slave Revolt</p>
</td>
<td style="border:1px solid #333;">
<ul><li><em>The Code Noir </em>(1685)</li>
<li>Letters from the Slave Revolt in Martinique (1789)</li>
</ul></td>
<td style="border:1px solid #333;">
<p>☺</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>R</p>
</td>
<td style="border:1px solid #333;">
<p>11/6</p>
</td>
<td style="border:1px solid #333;">
<p>Race and Revolution</p>
<p>Writing: Analysis, Argument</p>
</td>
<td style="border:1px solid #333;">
<ul><li>Address from the Free Citizens of Color (1789)</li>
<li>De Gouges, “Preface” (1792)</li>
<li>Marat, <em>Friend of the People </em>(1792)</li>
</ul></td>
<td style="border:1px solid #333;">
<p>Thought Paper 6 due at start of class</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>T</p>
</td>
<td style="border:1px solid #333;">
<p>11/11</p>
</td>
<td style="border:1px solid #333;">
<p>Subjectivity and Power</p>
</td>
<td style="border:1px solid #333;">
<ul><li>Watch film: <em>Égalité for All: Toussaint Louverture and the Haitian Revolution </em>(60 min)</li>
</ul></td>
<td style="border:1px solid #333;">
<p>☺</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>R</p>
</td>
<td style="border:1px solid #333;">
<p>11/13</p>
</td>
<td style="border:1px solid #333;">
<p><u>Writing</u>: Outlines and Introductions</p>
</td>
<td style="border:1px solid #333;">
<ul><li>Sonthonax, <em>Decree of General Liberty </em>(1793)</li>
<li>Polverel’s Plantation Policies (1794)</li>
</ul></td>
<td style="border:1px solid #333;">
<p>Bibliography for Essay 3 due at start of class</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>T</p>
</td>
<td style="border:1px solid #333;">
<p>11/18</p>
</td>
<td style="border:1px solid #333;">
<p>A Black Republic</p>
</td>
<td style="border:1px solid #333;">
<ul><li>Haitian Declaration of Independence (1804)</li>
<li>Haitian Constitution (1805)</li>
</ul></td>
<td style="border:1px solid #333;">
<p>Thought Paper 7 due at start of class</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>R</p>
</td>
<td style="border:1px solid #333;">
<p>11/20</p>
</td>
<td style="border:1px solid #333;">
<p>A Black Republic, con’t.</p>
</td>
<td style="border:1px solid #333;">
<p>☺</p>
</td>
<td style="border:1px solid #333;">
<p>Outline for Essay 3 due at start of class</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>T</p>
</td>
<td style="border:1px solid #333;">
<p>11/25</p>
</td>
<td colspan="2" style="border:1px solid #333;">
<p><strong>Writing Time – NO CLASS</strong></p>
</td>
<td style="border:1px solid #333;">
<p>☺</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>W</p>
</td>
<td style="border:1px solid #333;">
<p>11/26</p>
</td>
<td colspan="2" style="border:1px solid #333;">
<p><strong>NOT</strong> <strong>A CLASS DAY</strong></p>
</td>
<td style="border:1px solid #333;">
<p>Email draft of Essay 3 to peer group and Dr. Reeder by 5:00pm</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>R</p>
</td>
<td style="border:1px solid #333;">
<p>11/27</p>
</td>
<td colspan="2" style="border:1px solid #333;">
<p><strong>Thanksgiving – NO CLASS</strong></p>
</td>
<td style="border:1px solid #333;">
<p>☺</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>T</p>
</td>
<td style="border:1px solid #333;">
<p>12/2</p>
</td>
<td style="border:1px solid #333;">
<p>Peer Review</p>
</td>
<td style="border:1px solid #333;">
<ul><li>Your peer group’s essays</li>
</ul></td>
<td style="border:1px solid #333;">
<p>Peer comments prepared (2 copies of each)</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>R</p>
</td>
<td style="border:1px solid #333;">
<p>12/4</p>
</td>
<td style="border:1px solid #333;">
<p>In-class writing time</p>
</td>
<td style="border:1px solid #333;">
<ul><li>Bring paper or electronic draft of essay.</li>
</ul></td>
<td style="border:1px solid #333;">
<p>☺</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p>F</p>
</td>
<td style="border:1px solid #333;">
<p>12/5</p>
</td>
<td colspan="2" style="border:1px solid #333;">
<p><strong>NOT</strong> <strong>A CLASS DAY</strong></p>
</td>
<td style="border:1px solid #333;">
<p><strong>ESSAY 3 DUE electronically by 9:00 pm.</strong></p>
</td>
</tr></tbody></table></div>
<p>
</p><div>
<h4>THOUGHT PAPER TOPICS</h4>
<p>Each Thought Paper should be 400-600 words long, typed, single-spaced, and handed in at the start of class.</p>
<p>I will assess the depth of your thinking as well as your use of the writing skills we have discussed so far in the semester. These papers will help you think about the questions you will answer and practice the writing skills you will need for the longer assignments, so please take them seriously—for your own good.</p>
<p> </p>
<table border="1" cellpadding="0" cellspacing="0"><tbody><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p><strong>1</strong></p>
</td>
<td style="border:1px solid #333;">
<p><u>Paragraph One</u>: Summarize the Declaration of Independence in your own words. This means looking for the main points rather than recounting every detail. What are the main arguments in this document?</p>
<p><u>Paragraph Two</u>: These authors were doing a radical thing. They were breaking away from their king and establishing a brand new country. To take a step that drastic, they must have felt strongly that they wanted to have a totally different kind of community, one that had different values, or structures. Describe what kind of community the authors want. What do they think makes a good community/group/nation? This may not be spelled out exactly in the Declaration; you will have to read between the lines a little.</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p><strong>2</strong></p>
</td>
<td style="border:1px solid #333;">
<p><u>Paragraph One</u>: How do the authors of the “Seneca Falls Declaration” want to redefine citizenship? What did they feel was incomplete / wrong / unethical about citizenship as it stood?</p>
<p><u>Paragraph Two</u>: What kind of rhetoric do the authors use, and why is it effective? Cite a quote from the text as evidence.</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p><strong>3</strong></p>
</td>
<td style="border:1px solid #333;">
<p>Choose three communities you belong to. Giving <u>a paragraph to each</u>, explain why a revolution needs to take place. You will need to be brief and to the point. Tell me what’s wrong with the community—what’s unethical about its leadership structure, its values, its behaviors, or whatever bothers you—and how you’d like to see it changed. Do your best to avoid vague, repetitive, or cluttered writing.</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p><strong>4</strong></p>
</td>
<td style="border:1px solid #333;">
<p><u>Paragraph One</u>: Summarize Sieyes’s essay. Be sure to cover his main points. Try to practice the skills of organized paragraph writing that we discussed in the last class.</p>
<p><u>Paragraph Two</u>: Compare and contrast his ideas to Paine’s. Again, work on writing a focused, organized paragraph.</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p><strong>5</strong></p>
</td>
<td style="border:1px solid #333;">
<p><u>Paragraph One</u>: Describe the kind of society Burke wants, and explain how it is different than the one the revolutionaries want.</p>
<p><u>Paragraph Two</u>: Which vision of society is closer to what we have today in the U.S.A.? Why?</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p><strong>6</strong></p>
</td>
<td style="border:1px solid #333;">
<p><u>Two-sentence thesis</u>: What did “citizenship” mean in the French colony of Saint-Domingue (now Haiti)? Were there different kinds of citizens or just one meaning of the word?</p>
<p><u>Two paragraphs</u>: Why? Cite evidence.</p>
</td>
</tr><tr style="border:1px solid #333;"><td style="border:1px solid #333;">
<p><strong>7</strong></p>
</td>
<td style="border:1px solid #333;">
<p><u>Two-sentence thesis</u>: Did the Haitian Revolution follow in the footsteps of the American and French Revolutions, or was it a rejection of those ideals?</p>
<p><u>Two paragraphs</u>: Why? Cite evidence.</p>
</td>
</tr></tbody></table></div>
<p> <br /></p><h4>ESSAY TOPICS</h4>
<p>These are previews of the long essay assignments you will write this semester. They are meant to give you an idea of trajectory of your writing this semester. You will receive a much longer, more detailed assignment sheet for each of these essays closer to their due dates. The details and topics are subject to minor revision so be sure to work from the longer assignment sheets you receive.</p>
<h4>ESSAY ONE</h4>
<p>Length: 1200-1400 words</p>
<p>Style: Argumentative / Persuasive</p>
<p>Grades: Draft one = 30 pts. | Draft two = 70 pts.</p>
<p>In Brief: Choose a group that you belong to and declare revolution within it. This group could be anything that defines itself as a community: your church, your state, your university, your dorm, your family, your soccer team, your sailing club, your gym… you belong to dozens if not hundreds of groups, so think carefully about it. Next, decide how you’d like to see this community changed. Does it need new leadership—maybe yours? Different members or rules? What new values should it represent? Figure out how you want to see it reshaped. Finally, write a declaration of revolution. Your job is to be inspiring and persuasive. You must model your declaration off the “Declaration of Independence” and use the rhetorical techniques we’ve studied so far.</p>
<h4>ESSAY TWO</h4>
<p>Length: 1500-2000 words</p>
<p>Style: Analytical / Descriptive</p>
<p>Grades: Bibliography = 20 pts. | Draft one = 20 pts. | Draft two = 60 pts.</p>
<p>In Brief: You will choose a declaration of revolution outside of our course readings. (I will give you a list of suggestions.) You will research this document and write an essay synthesizing the following information: 1. What is the history of this document? Who wrote it, and why? 2. Describe the rhetoric of the document. How is it written? To whom is it meant to appeal? 3. What kind of society does the document imagine? What does citizenship mean to this group? Who’s included? What are their rights and responsibilities? How is this similar or different to the American and French declarations? Be specific and subtle about this – not “black and white.” You must incorporate five outside sources that you find.</p>
<h4>ESSAY THREE</h4>
<p>Length: 2300-2600 words</p>
<p>Style: Argumentative / Analytical</p>
<p>Grades: Bibliography = 10 pts. | Outline = 10 pts. | Draft one = 20 pts. | Draft two = 60 pts.</p>
<p>In Brief: In this final essay, you will combine the analytical and compositional skills you’ve been practicing all semester, producing a research paper that analyzes a contemporary policy through the lens of revolutionary ideals. From a list of choices I will provide, you must select a controversial policy that shapes the United States today and research the evidence both for and against it. In the first half of your essay you must argue each side in turn, making the best, most reasoned case possible. In the second half of your essay you must argue for a way forward that best fulfills the ideals set out for society by the revolutionaries we’ve studied.</p>
</div>
</div>
</div></div></div><section class="field field-name-field-parent-section field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Section:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/node/31530">Pedagogies</a></div></div></section><section class="field field-name-field-resource-index field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Resource:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/pedagogies/contest">NASSR/Romantic Circles Pedagogy Contest</a></div></div></section><section class="field field-name-field-authored-by-secondary- field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Authored by (Secondary):&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/person/reeder-jessie">Reeder, Jessie</a></div></div></section><section class="field field-name-taxonomy-vocabulary-3 field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Tags:&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/taxonomy/term/3601" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">syllabi</a></li><li class="field-item odd"><a href="/category/tags/syllabus-pedagogy-contest" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">syllabus Pedagogy Contest</a></li><li class="field-item even"><a href="/taxonomy/term/757" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">pedagogy</a></li></ul></section><section class="field field-name-field-syllabi-categories field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Syllabi Categories:&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/category/syllabi-categories/winners-nassrromantic-circles-pedagogy-contest" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Winners of the NASSR/Romantic Circles Pedagogy Contest</a></li></ul></section>Thu, 21 Jan 2016 23:25:16 +0000rc-admin83546 at http://www.rc.umd.eduMary Shelley in Context(s): Wikis and Blogs in Romanticism Courseshttp://www.rc.umd.edu/pedagogies/contest/2014.szwydky
<div class="field field-name-field-published field-type-date field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even"><span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2014-11-01T00:00:00-04:00">November 2014</span></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even" property="content:encoded"><div id="container">
<div class="teidiv0" id="body.1_div.1"><h3 align="center">Mary Shelley in Context(s): Wikis and Blogs in Romanticism Courses</h3><p xmlns=""><strong>Lissette Lopez Szwydky&nbsp;</strong><br xmlns="http://www.w3.org/1999/xhtml"/><strong>Assistant Professor of English, University of Arkansas</strong></p>
<div xmlns="http://www.w3.org/1999/xhtml" class="teidiv1" id="body.1_div.1_div.1"><p xmlns="http://www.w3.org/1999/xhtml" class=" ">&ldquo;Mary Shelley in Context(s)&rdquo;&mdash;a course designed for advanced undergraduates and graduate students&mdash;combines period-specific literary studies, gender studies, and
digital humanities to reimagine the spirit of Romantic collaboration in the twenty-first century classroom. The course has two innovative qualities: (1) its
primary focus on Mary Wollstonecraft Shelley&rsquo;s writings in conversation with her canonical contemporaries and (2) the development of an ongoing, public wiki
project.</p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" ">Selected readings illustrate a range of thematic interests and political engagement with the major conversations of her day. We read Shelley&rsquo;s fiction alongside
the works of first- and second-generation Romantic writers, showing how these texts work in conversation with one another and emphasizing the spirit of
collaboration and exchange that was central to Romantic literary and cultural production. </p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" ">Community is the central recurring theme of Mary Shelley&rsquo;s fiction, and writing assignments are designed to reproduce the spirit of community both in and out of
the classroom. Instead of writing papers exclusively for the professor, students become part of an online writing community by posting a series of entries to a
public course wiki located at <a class="link_ref" href="http://www.mary-shelley.wikia.com" title="www.mary-shelley.wikia.com">www.mary-shelley.wikia.com</a>. I developed this site as an ongoing digital
project where each class builds upon the previous class&rsquo;s work with the goal of developing a free, online resource for students and scholars interested in Mary
Wollstonecraft Shelley&rsquo;s works, contexts, impact, and related scholarship. </p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" ">Pedagogically, the wiki assignments several purposes. First, collaborative online writing asks students to actively consider how communities create and
propagate knowledge. The practice and experience that the students develop by participating in the wiki community also helps to build a broader skill set
valued by future employers (which students appreciated greatly) and help students differentiate between academic writing and writing for non-academic
audiences. In developing the course wiki, I have put together a model that I believe is sustainable and innovative. I plan to use the wiki model in additional
courses as well&mdash;sometimes feeding other courses into the Mary Wollstonecraft Shelley wiki (or creating new wikis as appropriate). For example, when I teach &rsquo;s multimedia cultural history during Spring 2015, students enrolled in that course will be asked to populate the &ldquo;Impact&rdquo;
section of the Mary Wollstonecraft Shelley wiki, focusing on adaptations in different media (drama, film, graphic novels, children&rsquo;s books, games, etc.). A
course that takes a more comprehensive approach to British Romanticism may focus more on populating the &ldquo;Contexts&rdquo; section and providing details on the
period&rsquo;s politics and social movements. </p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><strong xmlns="">Mary Shelley in Context(s): Wikis and Blogs in Romanticism Courses</strong></p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" ">Lissette Lopez Szwydky, Assistant Professor, University of Arkansas</p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" ">Email: <a class="link_ref" href="mailto:lissette@uark.edu" title="lissette@uark.edu">lissette@uark.edu</a> or Twitter @LissetteSz</p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><a class="link_ref" href="http://www.mary-shelley.wikia.com" title="www.mary-shelley.wikia.com">www.mary-shelley.wikia.com</a>: A public wiki dedicated to Mary Shelley&rsquo;s life, works, legacy, and the
Romantic period. The site is organized as follows:</p>
<ul xmlns=""><li><span id="N20297"><!--anchor--></span>Context &amp; Works (People, Romantic Period, Works by M. Shelley)</li><li><span id="N2029A"><!--anchor--></span>Cultural Impact (Adaptations, Appropriations, and other ephemera)</li><li><span id="N2029D"><!--anchor--></span>Scholarship (Book Reviews, Article Guides, Teaching and Internet Resources)</li><br></ul>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><strong xmlns="">Wiki Assignment Overview: </strong>Each student will post 3 entries (of 1,000-1,2000 words each) to the public course wiki
available at <a xmlns="http://www.w3.org/1999/xhtml" class="link_ref" href="http://www.mary-shelley.wikia.com" title="www.mary-shelley.wikia.com">www.mary-shelley.wikia.com</a>. Each category below will be covered: </p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" ">(1)<strong xmlns=""> Historical Context / Circles / Contemporaries</strong> entries will focus on people, political issues, or historical movements
that influenced Mary Shelley&rsquo;s writings. Major events/trips in Shelley&rsquo;s life are also acceptable (with instructor approval). The goal of this assignment is to
help wiki visitors understand Shelley&rsquo;s work in relevant biographical, historical, and political contexts. </p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" ">(2) <strong xmlns="">Scholarly Book Overview/Review</strong> entries will provide an overview and review of a book-length scholarly work focused
primarily on Mary Shelley, her writings, or her circles/contemporaries. (Students may also choose a series of 3 thematically linked articles for this
assignment.) The goal of this entry is to help develop a working online bibliography (with extensive annotations) of Mary Shelley scholarship to aid other
students and scholars in their research. </p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" ">(3) <strong xmlns="">Analytical/Textual</strong> entries will focus on a work by Mary Shelley or on a text that directly influenced her work.
Entries may focus on thematic analyses, character analyses, theoretical readings, or other related topics. The goal of this entry is to provide wiki visitors
with an informed overview and/or interpretations of Shelley&rsquo;s writing and to (possibly) help them develop/choose their own topics for further analysis.</p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" ">Students may work collaboratively on wiki entries #1 and #3, as long as each contributor meets the required word length. Entries should
demonstrate a clear understanding of audience (i.e. should be tailored for wiki visitors drawn primarily by an interest in Shelley&rsquo;s life and work). Entries
should also include references, works cited, and in-text hyperlinks to aid in reader comprehension and research.</p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><strong xmlns="">Final Papers/Projects for Mary Shelley in Context(s): </strong>Each student will complete a significant paper/project that demonstrates familiarity
with Mary Shelley scholarship. The project may be in the form of a traditional research paper (8-10 pages for undergraduates; 20-25 pages for graduate
students), or an equivalent amount of work presented in any of the following formats: a series of linked wiki articles; a multimedia project; a comprehensive
social media project (i.e. setting up a heavily populated blog on a relevant topic); a creative adaptation of any of Shelley&rsquo;s works (accompanied by a short,
critical reflective piece). Students are encouraged (but not required) to post or link their final projects to the course wiki.</p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><strong xmlns="">Use in Additional Courses:</strong> During Spring 2015, students enrolled in &ldquo;Romanticism: Revolution, Nature, and Gothic&rdquo; and &ldquo;: A Multimedia Cultural History&rdquo; will populate the &ldquo;Romantic Period&rdquo; and &ldquo;Cultural Impact&rdquo; sections respectively.</p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><strong xmlns="">Additional course sites related to my larger pedagogical project:</strong></p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><a class="link_ref" href="http://www.britlitsurvey2.wordpress.com" title="www.britlitsurvey2.wordpress.com">www.britlitsurvey2.wordpress.com</a>: A multi-author course blog developed for and populated by students
enrolled in ENGL 2313: Survey of British Literature, 1700-1900. Assignments are categorized using the following organizational/approach: </p>
<ul xmlns=""><li><span id="N202EA"><!--anchor--></span>Text (close or comparative readings)</li><li><span id="N202ED"><!--anchor--></span>Context (contextual readings focusing on social-historical contexts or authors)</li><li><span id="N202F0"><!--anchor--></span>Legacy (tracing a particular work&rsquo;s influence on later texts, adaptations, etc.)</li><br></ul>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><a class="link_ref" href="http://www.adaptations.wikia.com" title="www.adaptations.wikia.com">www.adaptations.wikia.com</a>: A public wiki using adaptation studies and history as a central organizing
principle under the following general categories: Narratives; Adaptations (including Film &amp; TV, Theater, Comics &amp; Illustrated Books, Texts, Games &amp;
Digital Media); and Scholarship (book reviews and article guides).</p>
</div>
<div class="teidiv1" id="body.1_div.1_div.2"><h4 align="center">ENGL 4603/5403: Studies in 19-Century British
Literature and Culture<br/><strong xmlns="">Mary Shelley in Context(s)</strong>
<br xmlns="http://www.w3.org/1999/xhtml"/>
<a class="link_ref" href="http://www.mary-shelley.wikia.com" title="www.mary-shelley.wikia.com">www.mary-shelley.wikia.com</a></h4>
<p class=" "><strong xmlns="">Course Description: </strong></p>
<p class=" ">This course will examine the conception, birth, life, and afterlife of Mary Wollstonecraft Shelley&rsquo;s fiction in historical, political,
literary, global, and popular contexts. We will read Shelley&rsquo;s fiction alongside selections by John Milton, Edmund Burke, Ann Radcliffe, Mary Wollstonecraft,
William Godwin, Samuel Taylor Coleridge, William Wordsworth, Lord Byron, Percy Shelley, and others. The course will end with an abridged adaptation history of
<span xmlns="" class="titlem">Frankenstein</span> from nineteenth-century dramas to contemporary films. Mary Shelley provides a unique point of reference to
Romantic-period writing due to her extensive connections to both the first and second generation writers of the Romantic period, as well as her understanding
of the shifting demands of the literary marketplace of the 1830s.</p>
<p class=" ">Required Texts:</p>
<ul xmlns=""><li><span id="N20324"><!--anchor--></span>Mary Wollstonecraft Shelley, <span class="titlem">Frankenstein</span>. Ed. Susan J. Wolfson. Longman Cultural Edition. Second Edition. 0321399536 978-0321399533.</li><li><span id="N20333"><!--anchor--></span>---. Mary Shelley: Collected Tales and Stories with original engravings. Ed. Charles. E. Robinson. Johns Hopkins University Press. ISBN-10: 0801840627
ISBN-13: 978-0801840623. (Specially discounted copies may be available through publisher&rsquo;s website at www.press.jhu.edu. </li><li><span id="N2033A"><!--anchor--></span>---. <span class="titlem">The Last Man</span>. Wordsworth Editions. ISBN-10: 1840224037 ISBN-13: 978-1840224030.</li><li><span id="N20345"><!--anchor--></span>---. <span class="titlem">Lodore</span>. Broadview Editions. ISBN-10: 1551110776 ISBN-13: 9781551110776. </li><li><span id="N20350"><!--anchor--></span>---. <span class="titlem">Falkner</span>. Wildside Press. </li><li><span id="N2035A"><!--anchor--></span><span class="titlem">Mary</span> and <span class="titlem">Maria</span> by Mary Wollstonecraft &amp; <span class="titlem">Matilda</span> by Mary Shelley (Penguin
Classics) ISBN-10:&nbsp;0140433716 | ISBN-13:&nbsp;978-0140433715</li><br></ul>
<p xmlns="http://www.w3.org/1999/xhtml" class=" ">Etexts (available on electronic course reserves/BlackBoard):</p>
<ul xmlns=""><li><span id="N20370"><!--anchor--></span>Mary Wollstonecraft, selections from <span class="titlem">A Vindication of the Rights of Woman</span></li><li><span id="N20376"><!--anchor--></span>---. Selections from <span class="titlem">Maria; or, The Wrongs of Woman</span></li><li><span id="N2037C"><!--anchor--></span>William Godwin, selections from <span class="titlem">An Enquiry Concerning Political Justice </span></li><li><span id="N20382"><!--anchor--></span>---. selections from <span class="titlem">St. Leon</span></li><li><span id="N20388"><!--anchor--></span>Ann Radcliffe, &ldquo;On the Supernatural in Poetry&rdquo;</li><li><span id="N2038B"><!--anchor--></span>John Milton, selections from <span class="titlem">Paradise Lost</span></li><li><span id="N20391"><!--anchor--></span>Lord Byron, <span class="titlem">Manfred: A Dramatic Poem</span></li><li><span id="N20397"><!--anchor--></span>---. &ldquo;Darkness&rdquo; </li><li><span id="N2039A"><!--anchor--></span>---. <span class="titlem">The Deformed Transformed</span></li><li><span id="N203A0"><!--anchor--></span>Samuel Taylor Coleridge, <span class="titlem">The Rime of the Ancient Mariner</span></li><li><span id="N203A6"><!--anchor--></span>Percy Bysshe Shelley, selected poetry</li><li><span id="N203A9"><!--anchor--></span>John Keats, <span class="titlem">The Eve of St. Agnes</span></li><li><span id="N203AF"><!--anchor--></span>William Wordsworth, selected poetry</li><br></ul>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><strong xmlns="">Films:</strong> All students will watch films outside of class to prepare for class discussion. All of the films listed are
available for rental via Netflix and other sources. </p>
<ul xmlns=""><li><span id="N203BD"><!--anchor--></span><span class="titlem">Rowing with the Wind</span> (1988)</li><li><span id="N203C3"><!--anchor--></span><span class="titlem">Frankenstein </span>(1931)</li><li><span id="N203C9"><!--anchor--></span><span class="titlem">Bride of Frankenstein </span>(1935)</li><li><span id="N203CF"><!--anchor--></span><span class="titlem">The Curse of Frankenstein </span>(1957)</li><li><span id="N203D5"><!--anchor--></span><span class="titlem">Mary Shelley&rsquo;s Frankenstein </span>(1994)</li><br></ul>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><strong xmlns="">Final Grades/Assignments:</strong></p>
<p class=" "> 45% 3 wiki assignments (15% each) <a class="link_ref" href="http://www.mary-shelley.wikia.com" title="www.mary-shelley.wikia.com">www.mary-shelley.wikia.com</a>
</p>
<p class=" "> 25% Research Paper/Multimedia Project/Wiki Project </p>
<p class=" ">20% Final Exam</p>
<p class=" "> 10% Attendance and Active Participation</p>
<div xmlns="" xmlns:html="http://www.w3.org/1999/xhtml" class="table"><span id="index.xml-table-N203F6"><!--anchor--></span><table class="rules" rules="all" border="1"><tr>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N203FB"><!--anchor--></span><strong>T</strong></td>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N20400"><!--anchor--></span>Course Introductions; Mary Wollstonecraft Shelley: A Timeline</td>
</tr><tr>
<td valign="top"><span id="index.xml-cell-N20407"><!--anchor--></span><strong>R</strong></td>
<td valign="top"><span id="index.xml-cell-N2040B"><!--anchor--></span><strong>Unit 1: Circles and Contexts -- </strong>Film Discussion: <span class="titlem">Rowing with the Wind </span>(1987) -stream on
Netflix</td>
</tr><tr>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N20418"><!--anchor--></span><strong>T</strong></td>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N2041D"><!--anchor--></span>Reading Due: Mary Wollstonecraft, selections from <span class="titlem">A Vindication of the Rights of
Woman</span> and <span class="titlem">Maria; or, The Wrongs of Woman</span>; William Godwin, selections from <span class="titlem">An Enquiry Concerning
Political Justice </span>and <span class="titlem">Caleb Williams; or, Things as They Are </span></td>
</tr><tr>
<td valign="top"><span id="index.xml-cell-N20433"><!--anchor--></span><strong>R</strong></td>
<td valign="top"><span id="index.xml-cell-N20437"><!--anchor--></span>Romanticism and the Sublime -- Reading Due: Edmund Burke, from <span class="titlem">A Philosophical Enquiry into Our Ideas of the
Sublime and the Beautiful</span>; Ann Radcliffe, &ldquo;On the Supernatural in Poetry&rdquo;; Percy Bysshe Shelley, &ldquo;Mont Blanc,&rdquo; and &ldquo;Hymn to Intellectual
Beauty&rdquo; </td>
</tr><tr>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N20441"><!--anchor--></span><strong>T</strong></td>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N20446"><!--anchor--></span>Satanic Heroes, Byronic Heroes, and Wanderers --Reading Due: John Milton, from <span class="titlem">Paradise
Lost</span>; Percy Bysshe Shelley, from <span class="titlem">Prometheus Unbound</span></td>
</tr><tr>
<td valign="top"><span id="index.xml-cell-N20454"><!--anchor--></span><strong>R</strong></td>
<td valign="top"><span id="index.xml-cell-N20458"><!--anchor--></span>Reading Due: Samuel Taylor Coleridge, <span class="titlem">Rime of the Ancient Mariner</span>; Lord Byron, from ; William Godwin, from <span class="titlem">St. Leon </span></td>
</tr><tr>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N20469"><!--anchor--></span><strong>T</strong></td>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N2046E"><!--anchor--></span><strong>Unit 2: Mary Shelley&rsquo;s Fictions</strong><br xmlns="http://www.w3.org/1999/xhtml"/>Reading
Due: <span class="titlem">Frankenstein</span>, Volume I<br xmlns="http://www.w3.org/1999/xhtml"/>Assignment(s) Due: 1. Wiki Entry #1 (Biographical / Historical Context
Entry)<br xmlns="http://www.w3.org/1999/xhtml"/>2. Identify the book you will review for Wiki Entry #2 on wiki </td>
</tr><tr>
<td valign="top"><span id="index.xml-cell-N20481"><!--anchor--></span><strong>R</strong></td>
<td valign="top"><span id="index.xml-cell-N20485"><!--anchor--></span>Reading Due: <span class="titlem">Frankenstein</span>, Volume II</td>
</tr><tr>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N2048F"><!--anchor--></span><strong>T</strong></td>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N20494"><!--anchor--></span>Reading Due: <span class="titlem">Frankenstein</span>, Volume III</td>
</tr><tr>
<td valign="top"><span id="index.xml-cell-N2049F"><!--anchor--></span><strong>R</strong></td>
<td valign="top"><span id="index.xml-cell-N204A3"><!--anchor--></span><span class="titlem">Frankenstein </span>Wrap-Up</td>
</tr><tr>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N204AC"><!--anchor--></span><strong>T</strong></td>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N204B1"><!--anchor--></span>Reading Due: <span class="titlem">The Last Man</span>, Volume I</td>
</tr><tr>
<td valign="top"><span id="index.xml-cell-N204BC"><!--anchor--></span><strong>R</strong></td>
<td valign="top"><span id="index.xml-cell-N204C0"><!--anchor--></span>Reading Due: <span class="titlem">The Last Man</span>, Volume II</td>
</tr><tr>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N204CA"><!--anchor--></span><strong>T</strong></td>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N204CF"><!--anchor--></span>Reading Due: <span class="titlem">The Last Man</span>, Volume III and Lord Byron, &ldquo;Darkness&rdquo; </td>
</tr><tr>
<td valign="top"><span id="index.xml-cell-N204DA"><!--anchor--></span><strong>R</strong></td>
<td valign="top"><span id="index.xml-cell-N204DE"><!--anchor--></span>Reading Due: <span class="titlem">Lodore</span>, Volume III</td>
</tr><tr>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N204E8"><!--anchor--></span><strong>T</strong></td>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N204ED"><!--anchor--></span>Reading Due: <span class="titlem"> Falkner</span>, Chapters 1-20; from W. Wordsworth, <br xmlns="http://www.w3.org/1999/xhtml"/>Assignment Due: Wiki Entry #2 (Scholarly Book Overview/Review Entry) </td>
</tr><tr>
<td valign="top"><span id="index.xml-cell-N204FD"><!--anchor--></span><strong>R</strong></td>
<td valign="top"><span id="index.xml-cell-N20501"><!--anchor--></span>Reading Due: <span class="titlem"> Falkner</span>, Chapters 21-37</td>
</tr><tr>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N2050B"><!--anchor--></span><strong>T</strong></td>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N20510"><!--anchor--></span>Reading Due: <span class="titlem"> Falkner</span>, Chapters 38-52</td>
</tr><tr>
<td valign="top"><span id="index.xml-cell-N2051B"><!--anchor--></span><strong>R</strong></td>
<td valign="top"><span id="index.xml-cell-N2051F"><!--anchor--></span>No class-Break (Official School Holiday) </td>
</tr><tr>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N20525"><!--anchor--></span><strong>T</strong></td>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N2052A"><!--anchor--></span>Reading Due: <span class="titlem">Mathilda</span></td>
</tr><tr>
<td valign="top"><span id="index.xml-cell-N20534"><!--anchor--></span><strong>R</strong></td>
<td valign="top"><span id="index.xml-cell-N20538"><!--anchor--></span><strong>Unit 3: Mary Shelley&rsquo;s Short Fiction -- </strong>Reading Due: &ldquo;A Tale of The Passions&rdquo; </td>
</tr><tr>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N20541"><!--anchor--></span><strong>T</strong></td>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N20546"><!--anchor--></span>Reading Due: &ldquo;Roger Dodsworth: The Reanimated Englishman,&rdquo; and &ldquo;Valerius: The Reanimated Roman&rdquo; </td>
</tr><tr>
<td valign="top"><span id="index.xml-cell-N2054D"><!--anchor--></span><strong>R</strong></td>
<td valign="top"><span id="index.xml-cell-N20551"><!--anchor--></span>Reading Due: &ldquo;The Mortal Immortal: A Tale&rdquo; </td>
</tr><tr>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N20557"><!--anchor--></span><strong>T</strong></td>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N2055C"><!--anchor--></span>Reading Due: &ldquo;Transformation&rdquo; and Lord Byron&rsquo;s <span class="titlem">The Deformed Transformed</span></td>
</tr><tr>
<td valign="top"><span id="index.xml-cell-N20566"><!--anchor--></span><strong>R</strong></td>
<td valign="top"><span id="index.xml-cell-N2056A"><!--anchor--></span>Reading Due: &ldquo;Fernando Eboli: A Tale,&rdquo; &ldquo;The Sisters of Albano,&rdquo; and &ldquo;The Heir of Mondolfo&rdquo; </td>
</tr><tr>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N20570"><!--anchor--></span><strong>T</strong></td>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N20575"><!--anchor--></span>Reading Due: &ldquo;The Dream&rdquo; and John Keats&rsquo;s <span class="titlem">The Eve of St.
Agnes</span><br xmlns="http://www.w3.org/1999/xhtml"/>Assignment Due: Wiki Entry #3 (Fiction Entry) </td>
</tr><tr>
<td valign="top"><span id="index.xml-cell-N20581"><!--anchor--></span><strong>R</strong></td>
<td valign="top"><span id="index.xml-cell-N20585"><!--anchor--></span>No Class-Break (official school holiday)</td>
</tr><tr>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N2058B"><!--anchor--></span><strong>T</strong></td>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N20590"><!--anchor--></span>Reading Due: &ldquo;Euphrasia: A Tale of Greece&rdquo; and &ldquo;The False Rhyme&rdquo; </td>
</tr><tr>
<td valign="top"><span id="index.xml-cell-N20597"><!--anchor--></span><strong>R</strong></td>
<td valign="top"><span id="index.xml-cell-N2059B"><!--anchor--></span><strong>Unit 4: Adapting Mary Shelley </strong><br xmlns="http://www.w3.org/1999/xhtml"/>Lecture: Frankenstein Adapted: An
(Abridged) Cultural History since 1823<br xmlns="http://www.w3.org/1999/xhtml"/>Reading Due: Richard Brinsley Peake, <span class="titlem">Presumption; or, The Fate of
Frankenstein</span></td>
</tr><tr>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N205AA"><!--anchor--></span><strong>T</strong></td>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N205AF"><!--anchor--></span>Film Discussion: <span class="titlem">Frankenstein</span> (1931) and <span class="titlem">Bride of Frankenstein
</span>(1935) </td>
</tr><tr>
<td valign="top"><span id="index.xml-cell-N205BE"><!--anchor--></span><strong>R</strong></td>
<td valign="top"><span id="index.xml-cell-N205C2"><!--anchor--></span>Film Discussion: <span class="titlem"> The Curse of Frankenstein </span>(1957) and <span class="titlem">Mary Shelley&rsquo;s Frankenstein
</span>(1994) </td>
</tr><tr>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N205D0"><!--anchor--></span><strong>T</strong></td>
<td valign="top" class="background-color(E6E6E6)"><span id="index.xml-cell-N205D5"><!--anchor--></span>FINAL EXAM</td>
</tr></table></div></div>
</div>
</div></div></div></div><section class="field field-name-field-parent-section field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Section:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/node/31530">Pedagogies</a></div></div></section><section class="field field-name-field-resource-index field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Resource:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/pedagogies/contest">NASSR/Romantic Circles Pedagogy Contest</a></div></div></section><section class="field field-name-field-authored-by-secondary- field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Authored by (Secondary):&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/person/szwydky-lissette-lopez">Szwydky, Lissette Lopez</a></div></div></section><section class="field field-name-taxonomy-vocabulary-3 field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Tags:&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/taxonomy/term/3601" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">syllabi</a></li><li class="field-item odd"><a href="/category/tags/syllabus-pedagogy-contest" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">syllabus Pedagogy Contest</a></li><li class="field-item even"><a href="/taxonomy/term/757" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">pedagogy</a></li></ul></section><section class="field field-name-field-syllabi-categories field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Syllabi Categories:&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/category/syllabi-categories/winners-nassrromantic-circles-pedagogy-contest" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Winners of the NASSR/Romantic Circles Pedagogy Contest</a></li></ul></section><section class="field field-name-field-xml-tei field-type-link-field field-label-above view-mode-fulltext"><h2 class="field-label">XML:TEI:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="http://www.rc.umd.edu/sites/default/files/imported/pedagogies/contest/2014/pedagogies.contest.2014.szwydky.xml" target="_blank" class="teiButton">XML : TEI</a></div></div></section>Mon, 24 Nov 2014 17:44:38 +0000rc-admin55236 at http://www.rc.umd.eduTheories of the Sublime: Longinus, Burke, Kant, and Ngaihttp://www.rc.umd.edu/pedagogies/contest/2014.rohrbach
<div class="field field-name-field-published field-type-date field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even"><span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2014-11-01T00:00:00-04:00">November 2014</span></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even" property="content:encoded"><div id="container">
<div class="teidiv0" id="body.1_div.1"><h3 align="center">Theories of the Sublime: Longinus, Burke, Kant, and Ngai</h3>
<div class="ab">English 383: Studies in Theory and Criticism</div><br/>
<div class="ab">Spring 2012/Spring 2015</div>
<div class="ab">Professor Emily Rohrbach</div>
<div class="ab">Office: UH 228; Hours W 3-4, F 10-11</div>
<p class=" ">This course devotes considerable attention to key theoretical accounts of the concept of the sublime from antiquity to the present: Longinus, Edmund Burke,
Immanuel Kant, and Sianne Ngai. Alongside these theories, we will read literary texts and view several paintings that employ, inflect, extend, or critique
those theoretical accounts. The first aim of the course is to get our minds around this intriguing concept in its theoretical forms. We will then start to
imagine the life of the sublime in cultural (including pop-cultural) history, art, and literature. To that end, the course concludes with class presentations
in which you will put to use your theoretical understanding of the sublime by evaluating an instance in which either the concept or the term plays a role in
contemporary art or culture.</p>
<p class=" ">With that end-of-quarter presentation in mind, keep your ears and eyes peeled! If you see the word <em xmlns="">sublime</em> in a film review or in the
description of a painting in the MCA, or you hear it in a pop song, take note. Or if you encounter a text, an object, or the evocation of an experience that
resembles what you have read about as constituting sublimity (or stuplimity) in the works of Longinus, Burke, Kant, or Ngai, consider making that the subject
of your presentation. You will then have to think about either what aspects of the theories you&rsquo;ve studied seem most relevant to the way the term <em xmlns="">sublime</em> is being employed by someone else, <em xmlns="">or</em> what aspects of the theories help justify your own application of
the term to some contemporary cultural object. This final project and the format of in-class presentations will help us collectively to understand the various
roles the theories of the sublime play in contemporary culture. How might the history and theory of the sublime be useful to negotiating the culture(s) in
which we live?</p>
<p class=" "><strong xmlns="">Required texts:</strong></p>
<p class=" "><em xmlns="">Classical Literary Criticism </em>(Penguin)</p>
<p class=" ">Burke, <em xmlns="">A Philosophical Enquiry into the Sublime and the Beautiful</em> (Penguin)</p>
<p class=" ">Kant, <em xmlns="">Critique of the Power of Judgment</em> (Cambridge)</p>
<p class=" ">M. Shelley, <em xmlns="">Frankenstein </em>(Norton)</p>
<p class=" ">Ngai, <em xmlns="">Ugly Feelings</em> (Harvard)</p>
<p class=" "><strong xmlns="">Recommended text:</strong></p>
<p class=" "><em xmlns="">Longman Anthology of British Literature, Volume 2A.</em> Note: If you already own an anthology that contains all the poetry on the syllabus,
you may substitute it for the <em xmlns="">Longman Anthology</em>.</p>
<p class=" "><strong xmlns="">How your grade is determined:</strong></p>
<p class=" ">Midterm (on Longinus, Burke, and Kant): 20%</p>
<p class=" ">Paper #1 (4 pages): 15%</p>
<p class=" ">Paper #2 (8 pages): 25%</p>
<p class=" ">10-minute presentation &amp; write-up (3 pages): 15%</p>
<p class=" ">Attendance/participation/bi-weekly short responses: 25%</p>
<p class=" "/>
<p class=" "><strong xmlns=""><em>The Rhetorical Sublime</em></strong></p>
<p class=" ">Week 1 (3/26-3/30) </p>
<p class=" ">M Introduction to the course.</p>
<p class=" ">W Longinus, <em xmlns="">On the Sublime</em> (a fragment) in <em xmlns="">Classical Literary Criticism</em></p>
<p class=" ">F Longinus (Group A responses)</p>
<p class=" "><strong xmlns=""><em>Sublime Aesthetics, Sublime Objects</em></strong></p>
<p class=" ">Week 2 (4/2-4/6) </p>
<p class=" ">M Burke, <em xmlns="">A Philosophical Enquiry into the Sublime and the Beautiful</em>, pp. 51-124</p>
<p class=" ">W Wordsworth, &ldquo;Tintern Abbey,&rdquo; excerpt from Book 10 of <em xmlns="">The Prelude</em></p>
<p class=" ">F Burke and Wordsworth (Group B responses)</p>
<p class=" "><strong xmlns=""><em>The Keatsian Sublime as Theory of Reading</em></strong></p>
<p class=" ">Week 3 (4/9-4/13) </p>
<p class=" ">M Burke, <em xmlns="">A Philosophical Enquiry into the Sublime and the Beautiful,</em> pp. 125-199</p>
<p class=" ">W Keats, &ldquo;On First Looking into Chapman&rsquo;s Homer&rdquo;; &ldquo;Ode to Psyche&rdquo;; &ldquo;Ode to a Nightingale&rdquo;; Wordsworth, excerpt from <em xmlns="">The Prelude</em>, Book
10.</p>
<p class=" ">F Burke, Keats, and Wordsworth (Group A responses)</p>
<p class=" "><strong xmlns=""><em>The Sublime and the (Anti-)Social</em></strong></p>
<p class=" ">Week 4 (4/16-4/20)</p>
<p class=" ">M Shelley, <em xmlns="">Mont Blanc</em></p>
<p class=" ">W Mary Shelley, <em xmlns="">Frankenstein</em></p>
<p class=" ">F Mary Shelley, <em xmlns="">Frankenstein</em> (Group B responses)</p>
<p class=" ">Week 5 (4/23-4/27)</p>
<p class=" ">M Mary Shelley, <em xmlns="">Frankenstein</em></p>
<p class=" ">***Paper #1 (4 pages) due 4/23 in class.</p>
<p class=" ">W Mary Shelley, <em xmlns="">Frankenstein</em></p>
<p class=" ">F Mary Shelley, <em xmlns="">Frankenstein</em> (Group A responses)</p>
<p class=" "><strong xmlns=""><em>The Sublime as Mental Experience</em></strong></p>
<p class=" ">Week 6 (4/30-5/4) </p>
<p class=" ">M Kant, selection from the <em xmlns="">Critique of Judgment</em></p>
<p class=" ">W Kant</p>
<p class=" ">F Kant (Group B responses)</p>
<p class=" "><strong xmlns=""><em>The Romantic Visual Sublime</em></strong></p>
<p class=" ">Week 7 (5/7-5/11)</p>
<p class=" ">M Kant</p>
<p class=" ">W Caspar David Friedrich &amp; J. M. W. Turner (paintings)</p>
<p class=" ">F Brad Prager, &ldquo;Kant in Caspar David Friedrich&rsquo;s Frames&rdquo; (critical essay)</p>
<p class=" "><strong xmlns=""><em>Astonishing Tedium: The Stuplime</em></strong></p>
<p class=" ">Week 8 (5/14-5/18) </p>
<p class=" ">M ***Midterm exam on Longinus, Burke, and Kant readings. (You will receive sample questions in advance.)</p>
<p class=" ">W Ngai, &ldquo;Stuplimity&rdquo; (pp. 248-297 of <em xmlns="">Ugly Feelings</em>)</p>
<p class=" ">F cont. (Groups A B responses to Ngai)</p>
<p class=" ">Week 9 (5/21-5/25)</p>
<p class=" ">M Ngai, &ldquo;Stuplimity&rdquo; (pp. 248-297 of <em xmlns="">Ugly Feelings</em>)</p>
<p class=" ">W ***Class Presentations (2- to 3-page write-up due)</p>
<p class=" ">F ***Class Presentations</p>
<p class=" "><strong xmlns="">Week 10</strong> (5/28-6/1)</p>
<p class=" ">M Memorial day. No classes.</p>
<p class=" ">W Reading period</p>
<p class=" ">F Reading period</p>
<p class=" "><strong xmlns="">Week 11 </strong>(6/4-6/8)</p>
<p class=" ">***Final paper (8 pages) due Monday, June 4 by 4pm.</p>
</div>
</div></div></div></div><section class="field field-name-field-parent-section field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Section:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/node/31530">Pedagogies</a></div></div></section><section class="field field-name-field-resource-index field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Resource:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/pedagogies/contest">NASSR/Romantic Circles Pedagogy Contest</a></div></div></section><section class="field field-name-field-authored-by-secondary- field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Authored by (Secondary):&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/person/rohrbach-emily">Rohrbach, Emily</a></div></div></section><section class="field field-name-taxonomy-vocabulary-3 field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Tags:&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/taxonomy/term/3601" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">syllabi</a></li><li class="field-item odd"><a href="/category/tags/syllabus-pedagogy-contest" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">syllabus Pedagogy Contest</a></li><li class="field-item even"><a href="/taxonomy/term/757" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">pedagogy</a></li></ul></section><section class="field field-name-field-syllabi-categories field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Syllabi Categories:&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/category/syllabi-categories/winners-nassrromantic-circles-pedagogy-contest" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Winners of the NASSR/Romantic Circles Pedagogy Contest</a></li></ul></section><section class="field field-name-field-xml-tei field-type-link-field field-label-above view-mode-fulltext"><h2 class="field-label">XML:TEI:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="http://www.rc.umd.edu/sites/default/files/imported/pedagogies/contest/2014/pedagogies.contest.2014.rohrbach.xml" target="_blank" class="teiButton">XML : TEI</a></div></div></section>Mon, 24 Nov 2014 17:39:44 +0000rc-admin55235 at http://www.rc.umd.eduRomanticism and Technologies of Informationhttp://www.rc.umd.edu/pedagogies/contest/2014.eckert
<div class="field field-name-field-published field-type-date field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even"><span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2014-11-01T00:00:00-04:00">November 2014</span></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even" property="content:encoded"><div id="container">
<div class="teidiv0" id="body.1_div.1"><h3 align="center">Romanticism and Technologies of Information</h3><p xmlns=""><strong>Lindsey Eckert</strong><br xmlns="http://www.w3.org/1999/xhtml"/><strong>Assistant Professor of English, Georgia State University</strong></p>
<div xmlns="http://www.w3.org/1999/xhtml" class="ab">Email: LEckert@gsu.edu</div>
<div class="ab">Twitter: @LindsEckert</div>
<div class="teidiv1" id="body.1_div.1_div.1"><h4 align="center">Course Narrative</h4>
<p class=" ">This graduate course considered information technologies in both the Romantic period and our contemporary moment. It was open to MA and PhD students in both the
Departments of English and Communications at Georgia State University. The dual focus on literature of the Romantic period and digital humanities was designed
to model a pedagogical approach that builds both literary and digital skills. </p>
<p class=" ">Focusing on Romanticism is particularly fruitful for a course devoted to literature and technology, since the period itself was an exciting time of
technological innovation. Throughout the term students in this course considered the new ways that writers and readers in the Romantic period thought about
literature and information. In addition to reading novels from the Godwin-Shelley circle that deal explicitly with issues of technology and information
exchange, we also looked at a variety of writing from Romantic-era periodicals. The course&rsquo;s focus on both literary texts such as <em xmlns="">Frankenstein </em>and digital technologies such as XML markup spoke to the students&rsquo; varied expertise coming from literary and computing backgrounds. </p>
</div>
<div class="teidiv1" id="body.1_div.1_div.2"><h4 align="center">Course Description</h4>
<p class=" ">This course considers information technologies in both the Romantic period and our contemporary moment. Throughout the Romantic period developments in printing,
paper making, and book binding as well as new advances in the British mail system fundamentally changed what information people accessed and how they accessed
it. In this course we will consider Romanticism&rsquo;s focus on the rapidly changing ways in which information was conveyed, disseminated, and read by reading
novels by William Godwin and Mary Shelley as well as a variety of literature from periodicals. </p>
<p class=" ">These debates surrounding Romantic literature and the circulation of information in many ways mirror our own historical moment. New technologies are altering
how we access, perceive, and represent information <strong xmlns="">about</strong> the Romantic period, and another important aspect of this class is considering
the changing face of scholarly research and production in our own information age. Thus, we will also read theory about digital humanities and look at
innovative approaches to Romantic scholarship from iPad apps and online exhibitions to big data analysis and XML text encoding.</p>
</div>
<div class="teidiv1" id="body.1_div.1_div.3"><h4 align="center">Course Objectives</h4>
<p class=" "><strong xmlns="">Consider and question</strong> the role of mediation in contemporary technologies of information</p>
<p class=" "><strong xmlns="">Identify </strong>major technological advances in the Romantic period</p>
<p class=" "><strong xmlns="">Reflect </strong>on how Romantic literature engages changing technologies of information </p>
<p class=" "><strong xmlns="">See</strong> canonical works of Romantic literature in the wider context of their cultural field</p>
<p class=" "><strong xmlns="">Build</strong> digital research skills</p>
<p class=" "><strong xmlns="">Innovate</strong> alternative modes of the transmission of scholarly research</p>
</div>
<div class="teidiv1" id="body.1_div.1_div.4"><h4 align="center">Required Texts</h4>
<ul xmlns=""><li><span id="NA02C0"><!--anchor--></span><em>Revolutions in Romantic Literature: An Anthology of Print Culture, 1789-1832</em>. Ed. Paul Keen. Peterborough, ON: Broadview, 2004.</li><li><span id="NA02C5"><!--anchor--></span>William Godwin, <em>Caleb Williams: or Things as They Are</em>. Ed. Gary Handwer and A.A. Markley.&nbsp; Peterborough, ON: Broadview,
2000.</li><li><span id="NA02CB"><!--anchor--></span>Mary Shelley, <em>Frankenstein</em>. Ed. D.L. Macdonald and Kathleen Scherf. Peterborough, ON: Broadview, 1999.</li><li><span id="NA02D1"><!--anchor--></span>&mdash;. <em>The Last Man</em>. Ed. Anne McWhir. Peterborough, ON: Broadview, 1996.</li><li><span id="NA02D7"><!--anchor--></span>Other texts made available online or on course reserve.</li><br></ul>
</div>
<div class="teidiv1" id="body.1_div.1_div.5"><h4 align="center">Final Assignment</h4>
<p class=" ">There are three options for the major piece of work for this course. My goal is to allow you to work on project that best suits your interests and your goals as
a scholar. </p>
<ol xmlns=""><li><span id="NA02E8"><!--anchor--></span><strong>Research paper</strong>
</li><li><span id="NA02EE"><!--anchor--></span><strong>Digital project</strong> that represents research about the Romantic period. There are multiple &ldquo;out of the box&rdquo; tools that you can use to
create websites and digital narratives that don&rsquo;t require programming knowledge. </li><li><span id="NA02F4"><!--anchor--></span><strong>Proposal for a future digital project</strong>. It may be the case that you have an idea for a future digital project or tool that is well
beyond the scope of a project for a course. This option asks you to develop a detailed proposal for what you <em>would</em> do if you could.
Your proposal will be based on the application guidelines for National Endowment for the Humanities Digital Humanities Start-Up Grants. </li></ol>
</div>
<div class="teidiv1" id="body.1_div.1_div.6"><h4 align="center">Course Schedule</h4>
<p class=" "><strong xmlns="">Week 1: Introductions</strong></p>
<ul xmlns=""><li><span id="NA030D"><!--anchor--></span>Paul Keen, Preface in <em>Revolutions in Romantic Literature</em>, pp. xiii-xxii. </li><li><span id="NA0313"><!--anchor--></span>Jerome McGann, &ldquo;On Creating a Usable Future,&rdquo; <em>Profession</em> (2011): 182-95. </li><li><span id="NA0319"><!--anchor--></span>Explore the digital resource &ldquo;What Jane Saw&rdquo; (<a xmlns="http://www.w3.org/1999/xhtml" class="link_ref" href="http://www.whatjanesaw.org/" title="http://www.whatjanesaw.org/">http://www.whatjanesaw.org/</a>)</li><br></ul>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><strong xmlns="">Week 2: Readers and Reading</strong></p>
<ul xmlns=""><li><span id="NA032A"><!--anchor--></span>Robert Darnton. &ldquo;What is the History of Books?&rdquo;&nbsp;<em>Daedalus&nbsp;</em>(Summer 1982): 65-83. </li><li><span id="NA0330"><!--anchor--></span>Thomas R. Adams and Nicholas Barker, &ldquo;A New Model for the Study of the Book&rdquo; in&nbsp;<em>A Potencie of Life</em>, ed. Nicolas Barker (London: The British Library, 1993) (course reserve)</li><li><span id="NA0336"><!--anchor--></span>Matthew Wilkens, &ldquo;Canons, Close Reading, and the Evolution of Method&rdquo; in&nbsp;<em>Debates in Digital Humanities</em>, ed. Matthew Gold (Minneapolis: U of Minnesota Press, 2012), pp. 249-58. </li><li><span id="NA033C"><!--anchor--></span>Section Two: The Reading Public in <em>Revolutions in Romantic Literature</em>, pp. 17-39</li><br></ul>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><strong xmlns="">Week 3: The Production of Printed Information in the Romantic Period</strong></p>
<p class=" "><em xmlns="">Hands-on Session at the Rare Book Library</em></p>
<ul xmlns=""><li><span id="NA0351"><!--anchor--></span>Section Four: The Book Trade in <em>Revolutions in Romantic Literature</em>, pp. 79-103</li><li><span id="NA0357"><!--anchor--></span>Section Five: The Vanity Fair of Knowledge: Literary Fashions in <em>Revolutions in Romantic Literature</em>, pp. 104-23.</li><li><span id="NA035D"><!--anchor--></span>Section Nine: Reflections on the Revolution in France in <em>Revolutions in Romantic Literature</em>, pp.&nbsp; 196-232.</li><br></ul>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><strong xmlns="">Week 4: Romanticism&rsquo;s Debates About Literature and Information</strong></p>
<ul xmlns=""><li><span id="NA036D"><!--anchor--></span>Section One: The Nature of the Word, Literature in <em>Revolutions in Romantic Literature</em>, pp. 1-16</li><li><span id="NA0373"><!--anchor--></span>Section Seven: The Periodical Press in <em>Revolutions in Romantic Literature</em>, pp. 149-69</li><li><span id="NA0379"><!--anchor--></span>Section Eight: Romantic Literature in <em>Revolutions in Romantic Literature</em>, pp. 170-95</li><li><span id="NA037F"><!--anchor--></span>John Keats, &ldquo;On First Looking Into Chapman&rsquo;s Homer&rdquo; </li><li><span id="NA0382"><!--anchor--></span>Abby Smith, &ldquo;Part II: The Research Library in the 21st Century: Collecting, Preserving, and Making Accessible Resources for Scholarship&rdquo; in <em>No Brief Candle: Reconceiving Research Libraries for the 21st Century </em>(CLIR, 2008)<br xmlns="http://www.w3.org/1999/xhtml"/>&nbsp;(<a xmlns="http://www.w3.org/1999/xhtml" class="link_ref" href="http://www.clir.org/pubs/reports/pub142/smith.html" title="http://www.clir.org/pubs/reports/pub142/smith.html">http://www.clir.org/pubs/reports/pub142/smith.html</a>)</li><br></ul>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><strong xmlns="">Week 5: (The Problem of) Accessing Information about Romanticism</strong></p>
<ul xmlns=""><li><span id="NA0398"><!--anchor--></span>Eighteenth Century Collections Online (you can access ECCO via the library website)</li><li><span id="NA039B"><!--anchor--></span><a xmlns="http://www.w3.org/1999/xhtml" class="link_ref" href="https://books.google.com/ngrams" title="Google Ngrams">Google Ngrams</a>&nbsp;&nbsp;(explore the date functions and the corpus you use to find words)</li><li><span id="NA03A1"><!--anchor--></span>TypeWright&nbsp;(<a xmlns="http://www.w3.org/1999/xhtml" class="link_ref" href="http://www.18thconnect.org/typewright" title="http://www.18thconnect.org/typewright">http://www.18thconnect.org/typewright</a>)
<ul><li><span id="NA03A9"><!--anchor--></span>Read the &ldquo;About&rdquo; section. </li><li><span id="NA03AC"><!--anchor--></span>Create an account and correct at least 10 pages of OCR from an uncorrected text on TypeWright.</li></ul>
</li><li><span id="NA03B1"><!--anchor--></span>Susan Schreibman, &ldquo;<a xmlns="http://www.w3.org/1999/xhtml" class="link_ref" href="http://paj.muohio.edu/paj/index.php/paj/article/view/7/53" title="Digital Representation and the Hyper Real">Digital Representation and the Hyper Real</a>.&rdquo; <em>Poetess Archive Journal</em> 2.1(December 2010): 1-16. (<a xmlns="http://www.w3.org/1999/xhtml" class="link_ref" href="https://journals.tdl.org/paj/index.php/paj/article/view/7/53" title="https://journals.tdl.org/paj/index.php/paj/article/view/7/53">https://journals.tdl.org/paj/index.php/paj/article/view/7/53</a>) </li><li><span id="NA03BF"><!--anchor--></span>Patrick Spedding, &ldquo;&lsquo;The New Machine&rsquo;: Discovering the Limits of ECCO.&rdquo; <em>Eighteenth Century Studies </em>44.4 (2011): 437-53. </li><br></ul>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><strong xmlns="">Week 6: Things as They Are: Controlling Information in the Romantic Period</strong></p>
<ul xmlns=""><li><span id="NA03CF"><!--anchor--></span>William Godwin, <em>Caleb Williams: or Things as They Are</em></li><br></ul>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><strong xmlns="">Week 7: Things as They Might Be: Encoding Information about the Romantic Period</strong></p>
<ul xmlns=""><li><span id="NA03DE"><!--anchor--></span>Michael Witmore, &ldquo;Text: A Massively Addressable Object&rdquo; in <em>Debates in Digital Humanities</em>, ed. Matthew Gold (Minneapolis: U of Minnesota Press, 2012), pp. 324-27 </li><li><span id="NA03E4"><!--anchor--></span>Neil Fraistat, &ldquo;Textual Addressability and the Future of Editing,&rdquo;&nbsp;<em>European Romantic Review</em> 23.3, pp. 32&ndash;33 </li><li><span id="NA03EA"><!--anchor--></span>Women Writers Project Guide to Scholarly Text Encoding (<a xmlns="http://www.w3.org/1999/xhtml" class="link_ref" href="http://www.wwp.brown.edu/research/publications/guide/index.html" title="http://www.wwp.brown.edu/research/publications/guide/index.html">http://www.wwp.brown.edu/research/publications/guide/index.html</a>)</li><br></ul>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><strong xmlns="">Week 8: Reading and Preserving Romanticism Today</strong></p>
<p class=" "><strong xmlns=""><em>Guest Speaker</em></strong>: Andrew Stauffer (Associate Professor of English at the University of Virginia and Director of NINES)</p>
<ul xmlns=""><li><span id="NA0403"><!--anchor--></span>Andrew Stauffer, &ldquo;The Nineteenth-Century Archive in the Digital Age,&rdquo;&nbsp;<em>European Romantic Review</em>&nbsp;23.3, pp. 335-41</li><li><span id="NA0409"><!--anchor--></span>Spend time exploring the NINES website&nbsp;(<a xmlns="http://www.w3.org/1999/xhtml" class="link_ref" href="http://www.nines.org/" title="http://www.nines.org/">http://www.nines.org/</a>)
<ul><li><span id="NA0411"><!--anchor--></span>What works well? </li><li><span id="NA0414"><!--anchor--></span>What seem to be its limitations? </li><li><span id="NA0417"><!--anchor--></span>What questions do you have about the project?</li></ul>
</li><li><span id="NA041C"><!--anchor--></span>Watch the introductory video about the digital tool Juxta (<a xmlns="http://www.w3.org/1999/xhtml" class="link_ref" href="http://vimeo.com/50388096" title="http://vimeo.com/50388096">http://vimeo.com/50388096</a>)</li><li><span id="NA0423"><!--anchor--></span>Explore the Juxta version of Mary Shelley&rsquo;s <em>Frankenstein</em>, which allows you to compare the 1818 edition of the novel with the 1831 edition (<a xmlns="http://www.w3.org/1999/xhtml" class="link_ref" href="http://juxtacommons.org/shares/Nme50n/sidebyside?docs=453,452&amp;top=0" title="http://juxtacommons.org/shares/Nme50n/sidebyside?docs=453,452&amp;top=0">http://juxtacommons.org/shares/Nme50n/sidebyside?docs=453,452&amp;top=0</a>)</li><br></ul>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><strong xmlns="">Week 9: Representing Monstrous Creation and Monstrous Reading</strong></p>
<ul xmlns=""><li><span id="NA0437"><!--anchor--></span>Mary Shelley, <em>Frankenstein</em></li><br></ul>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><strong xmlns="">Week 10: Digital Romanticism: The Example of <em>Frankenstein</em></strong></p>
<ul xmlns=""><li><span id="NA0448"><!--anchor--></span><em>Biblion Frankenstein: The Afterlife of Shelley&rsquo;s Circle</em>. <br xmlns="http://www.w3.org/1999/xhtml"/>
(<a xmlns="http://www.w3.org/1999/xhtml" class="link_ref" href="http://exhibitions.nypl.org/biblion/outsiders" title="http://exhibitions.nypl.org/biblion/outsiders">http://exhibitions.nypl.org/biblion/outsiders</a> There is also a free iPad app that you can download from the website.) Please read the following:
<ul><li><span id="NA0453"><!--anchor--></span>Susan Tyler Hitchcock ,&ldquo;Cultural Interpretations of&nbsp;<em>Frankenstein</em>&rdquo; </li><li><span id="NA0459"><!--anchor--></span>Eric Eisner, &ldquo;Celebrity and Fandom in the Age of&nbsp;<em>Frankenstein</em>&rdquo;</li><li><span id="NA045F"><!--anchor--></span>Susan J. Wolfson, &ldquo;What Makes a Monster&rdquo; </li><li><span id="NA0462"><!--anchor--></span>Stephanie DeGooyer, &ldquo;A Monster&rsquo;s Right to Have Rights&rdquo; </li></ul>
</li><br></ul>
<ul xmlns=""><li><span id="NA046A"><!--anchor--></span><em>The Shelley-Godwin Archive</em> (<a xmlns="http://www.w3.org/1999/xhtml" class="link_ref" href="http://shelleygodwinarchive.org" title="http://shelleygodwinarchive.org">http://shelleygodwinarchive.org</a>) Please the
following
<ul><li><span id="NA0474"><!--anchor--></span>Using the Shelley-Godwin Archive</li><li><span id="NA0477"><!--anchor--></span>from Charles E. Robinson&rsquo;s Introduction to The Frankenstein Notebooks </li><li><span id="NA047A"><!--anchor--></span>The Frankenstein Notebooks</li></ul>
</li><br></ul>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><strong xmlns="">Week 11: Digital Romanticism: The Example of&nbsp;<em>Frankenstein</em></strong></p>
<ul xmlns=""><li><span id="NA048A"><!--anchor--></span><em>Frankenstein: A Romantic Circles Electronic Edition</em>, ed. Stuart Curran <br xmlns="http://www.w3.org/1999/xhtml"/>(<a xmlns="http://www.w3.org/1999/xhtml" class="link_ref" href="http://www.rc.umd.edu/editions/frankenstein" title="http://www.rc.umd.edu/editions/frankenstein">http://www.rc.umd.edu/editions/frankenstein</a>)</li><li><span id="NA0495"><!--anchor--></span><em>Frankenstein: The Pennsylvania Electronic Edition</em>, ed. Stuart Curran <br xmlns="http://www.w3.org/1999/xhtml"/>(<a xmlns="http://www.w3.org/1999/xhtml" class="link_ref" href="http://knarf.english.upenn.edu/" title="http://knarf.english.upenn.edu/">http://knarf.english.upenn.edu/</a>)</li><li><span id="NA04A0"><!--anchor--></span>Andrew Burkett, &ldquo;Mediating Monstrosity: Media, Information, and Mary Shelley&rsquo;s <em>Frankenstein</em>,&rdquo; <em>Studies in Romanticism</em>&nbsp;(D2L)</li><li><span id="NA04A9"><!--anchor--></span>Mary Shelley, <em>The Last Man</em>, pp. 1-127</li><br></ul>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><strong xmlns="">Week 12: Imagining the Future of Science, Information, and Humanity</strong></p>
<ul xmlns=""><li><span id="NA04B9"><!--anchor--></span>Section Six: The Arts and Sciences in <em>Revolutions in Romantic Literature</em>, pp. 124-48</li><li><span id="NA04BF"><!--anchor--></span>Mary Shelley, <em>The Last Man</em>, pp. 129-245</li><br></ul>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><strong xmlns="">Week 13: Final Project Workshop</strong></p>
<p class=" "><strong xmlns="">Week 14: </strong><strong xmlns=""><em>The Last Man</em> and the Future of Romantic
Information</strong></p>
<ul xmlns=""><li><span id="NA04DA"><!--anchor--></span>Mary Shelley, <em>The Last Man</em>, pp. 247-67</li><li><span id="NA04E0"><!--anchor--></span>Greg Kucich, &ldquo;<em>The Last Man</em>&nbsp;and the New History,&rdquo; <em>Romantic Circles MOO
Conference</em>, 13 September, 1997. (<a xmlns="http://www.w3.org/1999/xhtml" class="link_ref" href="http://www.rc.umd.edu/sites/default/files/RCOldSite/www/villa/vc97/kucich.html" title="http://www.rc.umd.edu/sites/default/files/RCOldSite/www/villa/vc97/kucich.html">http://www.rc.umd.edu/sites/default/files/RCOldSite/www/villa/vc97/kucich.html</a>)</li><br></ul>
</div>
</div>
</div></div></div></div><section class="field field-name-field-parent-section field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Section:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/node/31530">Pedagogies</a></div></div></section><section class="field field-name-field-resource-index field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Resource:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/pedagogies/contest">NASSR/Romantic Circles Pedagogy Contest</a></div></div></section><section class="field field-name-field-authored-by-secondary- field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Authored by (Secondary):&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/person/eckert-lindsey">Eckert, Lindsey</a></div></div></section><section class="field field-name-taxonomy-vocabulary-3 field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Tags:&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/taxonomy/term/3601" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">syllabi</a></li><li class="field-item odd"><a href="/category/tags/syllabus-pedagogy-contest" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">syllabus Pedagogy Contest</a></li><li class="field-item even"><a href="/taxonomy/term/757" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">pedagogy</a></li></ul></section><section class="field field-name-field-syllabi-categories field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Syllabi Categories:&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/category/syllabi-categories/winners-nassrromantic-circles-pedagogy-contest" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Winners of the NASSR/Romantic Circles Pedagogy Contest</a></li></ul></section><section class="field field-name-field-xml-tei field-type-link-field field-label-above view-mode-fulltext"><h2 class="field-label">XML:TEI:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="http://www.rc.umd.edu/sites/default/files/imported/pedagogies/contest/2014/pedagogies.contest.2014.eckert.xml" target="_blank" class="teiButton">XML : TEI</a></div></div></section>Mon, 24 Nov 2014 17:33:50 +0000rc-admin55233 at http://www.rc.umd.eduENGL 630: Radical Publishers of the Romantic Erahttp://www.rc.umd.edu/pedagogies/contest/2014.demson
<div class="field field-name-field-published field-type-date field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even"><span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2014-11-01T00:00:00-04:00">November 2014</span></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even" property="content:encoded"><div id="container">
<div class="teidiv0" id="body.1_div.1"><h3 align="center">ENGL 630: Radical Publishers of the Romantic Era</h3><p xmlns=""><strong>
Dr. Michael Demson
</strong><br xmlns="http://www.w3.org/1999/xhtml"/><strong>Assistant Professor of English, Sam Houston State University</strong></p>
<br xmlns="http://www.w3.org/1999/xhtml"/>
<div class="ab">Office: Evans 117</div>
<div class="ab">Contact: 936-294-1430, Demson@shsu.edu</div>
<div class="ab"><strong xmlns="">Online every day </strong></div><br/>
<div class="section" id="body.1_div.1_div.1">
<p class=" ">&ldquo;Revisiting the Radical Republican Publishers of the Romantic Era in the Digital Era&rdquo; is an online, summer-intensive, graduate workshop
that introduces students to the careers of four English republican publishers of the Romantic period: William Blake, Leigh Hunt, William Hone, and William
Cobbett. Each of these figures thought deeply about political and artistic freedom, like many of the authors they published, and perhaps more importantly,
they were forerunners in the struggle for a free press in England. To introduce the print culture and political context of the Romantic era, students in
this course read biographies, correspondences, an assortment of each publisher&rsquo;s publications, including newspapers, political pamphlets, and Romantic
literature, as well as original fiction and non-fiction pieces authored by each publisher. The objective here is to assess how control of the means of
publication and dissemination affects literary productions. The course also aims to introduce students to innovations in Digital Humanities, including
virtual libraries, databases, digitized texts, specialized search engines, and new analytical tools. The objective here is to break the habits of reading
produced by reading anthologies; these new digital resources enable students to contextualize the literature of the period in unprecedented ways, giving
them access to materials long relegated to distant archives, providing the means to search documents rapidly, and to automate the compilation of historical
and literary data. Throughout the course, students explore analogies between the rise of the popular press in the Romantic era and the rise of the Internet
in their own day.</p>
<p class=" "><strong xmlns="">Students are responsible for maintaining continuous online access from the beginning through to the end of the semester and are expected to
spend substantial periods of time every day</strong> (weekends excepted) <strong xmlns="">participating in class-related online activities</strong> (including
keeping an online journal, contributing to discussion, reading lectures, conducting database research). <strong xmlns="">No accommodations will be made for
students who do not maintain or have only intermittent Internet access. If you do not have continuous Internet access (i.e., minimum of 4 hours of online
access daily), do not take this course. </strong>You will find this course too difficult, frustrating, and overwhelming unless you are actively engaged online
<strong xmlns="">each and every weekday</strong> for the entire semester.</p>
</div>
<div class="section" id="body.1_div.1_div.2"><h4 align="center">Daily routine</h4>
<p class=" ">1) check for course announcements (which may include changes in schedule, exam questions, assignments, readings, <em xmlns="">etc</em>.), </p>
<p class=" ">2) review the current exam question so you see what will be relevant in the readings, </p>
<p class=" ">3) complete the required readings listed on the schedule for that day, </p>
<p class=" ">4) conduct online research when assigned, </p>
<p class=" ">5) write a journal entry, </p>
<p class=" ">6) participate in the online discussions and research discussions (completing assignments and posting responses to others), and </p>
<p class=" ">7) prepare for weekly exams and/or the final paper. </p>
<div class="center"><strong xmlns="">Summer classes are intensive: start preparing for the end of the semester from day one!</strong></div>
<div xmlns:html="http://www.w3.org/1999/xhtml" align="center" class="noThumb"><img src="http://www.rc.umd.edu/sites/default/files/imported/pedagogies/contest/2014/images/image2Thumb.jpg"/><p class="caption">&ldquo;This is the thing&rdquo; (from William Hone&rsquo;s 1819 &ldquo;The Political House that Jack Built,&rdquo; Illustrated by George Cruikshank)</p></div>
</div>
<div class="section" id="body.1_div.1_div.3"><h4 align="center">Course description</h4>
<p class=" "><div xmlns:html="http://www.w3.org/1999/xhtml" align="center" class="leftFloat"><a class="colorbox" href="http://www.rc.umd.edu/sites/default/files/imported/pedagogies/contest/2014/images/image30.jpg"><img src="http://www.rc.umd.edu/sites/default/files/imported/pedagogies/contest/2014/images/image30Thumb.jpg"/></a><p class="caption">Urizon from William Blake&rsquo;s <span xmlns="" class="titlem">First Book of Urizen</span>.</p></div>This course will examine
English republican author-publishers of the Romantic era, who not only wrote about freedom of speech, parliamentary reform, universal suffrage, and abolition,
but also published their own works in defiance of authorities and at great personal hazard. Because they wrote and published newspapers, pamphlets, and posters
instead of pieces that fit neatly into anthologies, these central figures of Romanticism have not received the attention they should. For two centuries only
those scholars who could spend days if not years in England&rsquo;s archives and museums had access to their publications. Today, however, because of recent
coordinated efforts to digitize many of these Romantic publications, rendering them both accessible and searchable, interest in the Romantic republican
publishers is on the rise. By providing this course online, students will learn about recent developments in Digital Humanities and be able to engage with,
perhaps even contribute to, pioneering scholarly websites such as <span xmlns="" class="titlem">The William Hone Biotext</span>, <span xmlns="" class="titlem">The Blake Archive</span>,
and <span xmlns="" class="titlem">Romantic Circles</span>. This course will be open to all M.A. students in English and is designed for those who wish to develop their
appreciation of the Romantic era.</p>
<p class=" ">This course will introduce students to
the careers and major works of William Blake, Leigh Hunt, William Hone, and William Cobbett. All four of these figures were committed English republicans
during the last decades of the eighteenth century and early nineteenth century. Their convictions prompted them to write, and when their positions were deemed
too dangerous to publish by established publishers, they began to publish their writings themselves. Blake both wrote and illustrated illuminated texts,
publishing them in small numbers out of a cottage outside of London. They would come to be regarded around the world as masterpieces of graphic design and
poetry, though he did not enjoy this fame in his own lifetime. On the other hand, Cobbett, Hunt, and Hone published pamphlets and newspapers that had
circulations that ran up to the tens of thousands and Hone in the hundreds of thousands. The government deemed these men extremely dangerous and prosecuted
them at every opportunity: Cobbett spent time in prison for sedition, and once freed he fled to America to escape further prosecutions; Hone was prosecuted
four times for sedition but won all of his cases&hellip; and notoriety; famously, Hunt lived in a prison for many years, where he conducted a literary circle, which
included such famed poets as Lord Byron and John Keats.</p>
</div>
<div class="section" id="body.1_div.1_div.4"><h4 align="center">Core Questions</h4>
<p class=" ">Each week of the course, we will address three related but distinct theoretical questions. We will develop answers by looking at the lives and major works of
the focus authors: Blake, Hunt, Hone, and Cobbett. </p>
<ol xmlns=""><li><span id="N90307"><!--anchor--></span>How did self-publishing affect the literary and non-literary productions of those Romantics able to publish their own works?</li><li><span id="N9030A"><!--anchor--></span>What is the relationship between journalism and literature? </li><li><span id="N9030D"><!--anchor--></span>How is the digital era reconfiguring our understanding of the Romantic era (its canon, its poetics, its enduring relevance)?</li></ol>
<p xmlns="http://www.w3.org/1999/xhtml" class=" ">We will also do some comparative work to answer these questions, drawing into our discussions other Romantics, including Dorothy and William Wordsworth, Mary
and Percy Shelley, John Clare, and Mary Hays.</p>
</div>
<div class="section" id="body.1_div.1_div.5"><h4 align="center">Netiquette</h4>
<p class=" ">It is critically important that in all online communications you follow the core rules of netiquette. If you are unfamiliar with these rules, I highly recommend
that you review them at <a class="link_ref" href="http://www.albion.com/netiquette/corerules.html" title="http://www.albion.com/netiquette/corerules.html">http://www.albion.com/netiquette/corerules.html</a>. Remember that
communication online, with its lack of contextual social markers, can be difficult to read, especially when it involves emotions. Be patient, considerate, and,
when necessary, use emoticons to signal sarcasm, irony, and nuanced tones dependent on ambiguity.</p>
</div>
<div class="section" id="body.1_div.1_div.6"><h4 align="center">Books</h4>
<p class=" ">Each week of the course, we will read a biography (listed below) of our focus authors. Additional readings are listed on the schedule or others announced during
the course of the semester will be available online. NOTE: the SHSU bookstore was unable to find some of these books, but they are readily available new and
used on abebooks.com and amazon.com at steeply discounted prices.</p>
<div class="hang">Bentley, G. E. Jr.. <span xmlns="" class="titlem">The Stranger from Paradise: A Biography of William Blake</span>. New York: Paul Mellon Center BE, 2003.</div>
<div class="hang">Holden, Anthony. <span xmlns="" class="titlem">The Wit in the Dungeon: The Remarkable Life of Leigh Hunt: Poet, Revolutionary, and the Last of the Romantics</span>. New York: Little, Brown and Company, 2005.</div>
<div class="hang">Ingrams, Richard. <span xmlns="" class="titlem">The Life and Adventures of William Cobbett</span>. New York: Harper Perennial, 2006.</div>
<div class="hang">Wilson, Ben. <span xmlns="" class="titlem">The Laughter of Triumph: William Hone and the Fight for the Free Press</span>. London: Faber, 2005.<br xmlns="http://www.w3.org/1999/xhtml"/></div>
</div>
<div class="section" id="body.1_div.1_div.7"><h4 align="center">Summary of assignments</h4>
<p class=" ">Journal (20%, 5% per unit): students are expected to keep a <strong xmlns="">daily</strong> (weekends excepted) journal online&mdash;or blog&mdash;of their reading, research, and online activities notes (click on the journal tab). <strong xmlns="">These journals will not be shared with other students</strong>, but will be read and graded by the instructor. They may be written in an informal style, but
should nevertheless be textually engaged (use quotes) and descriptive. For example, if you react strongly to something, go into detail, explain why and provide
examples with page numbers, a URL, <em xmlns="">etc</em>. Comments on other readings, manuscripts, pamphlets, may be included, but the focus of the
entries should be on course materials. Similarly, comments on the course itself, or on discussion posts may likewise be included, with the same proviso
regarding staying focused on the course material. A daily entry should run about <strong xmlns="">300 words minimum</strong> (one full page double-spaced); there is
no maximum. Use the journal to prepare for the weekly exams and the final paper. </p>
<p class=" ">Discussion and discussion assignments (30%: 20% for daily discussion posts, 5% per unit, and 10% for &ldquo;Research discussion&rdquo; posts&mdash;best 5 of 7&mdash;at each 2%)
students are expected to participate <strong xmlns="">daily</strong> (weekends excepted) in the discussion forums and to respond to posted topics. Discussion should
be conducted in more formal language than the journal entries and should provide citations where appropriate (MLA format). Students are also expected to
conduct themselves as scholars and to be scholarly in their disagreements with classmates. <strong xmlns="">Responses to the discussion prompts should be 150
words minimum, and the mandatory two responses to classmates&rsquo; posts should be 50 words minimum</strong>. <em xmlns="">Remember that we all benefit from
discussion, debate and disagreement, so keep it civil and courteous.</em>
</p>
<p class=" ">Exams (30%, 10% each, one per unit, dropping the lowest): students are expected to complete <strong xmlns="">four</strong> essay exams, <strong xmlns="">one due every
Tuesday by Midnight</strong>. These exams are open-book; students are allowed to use their books, notes, outside resources (online or paper), when preparing
and writing their exams. Announced each preceding Thursday, topics for these exams will be drawn from the required readings and digital archival research of
the previous week and will be related to our core questions. Students may spend as much time as they deem appropriate preparing for these exams, but must allot
themselves 120 minutes to write the exams (observation of this time restriction is on the honor principle). On average, this means 3 to 5 pages of writing.
Papers must be uploaded through the assignment drop box. Late exams will receive zero credit (F). The lowest grade exam will be dropped, such that three exams,
each worth 10%, will constitute 30% of the course grade. Note well that it may be very beneficial to you to do well on the first three exams so that you can
opt out of the fourth to focus on your final paper.</p>
<p class=" ">Final Paper (20%): students are expected to develop one of their first three exams into a 6-to-10-page (1,800-3,000 word) research paper, due Wednesday, June
27. This paper should address authors and issues discussed in the course, represent original scholarship, draw heavily from digital archives, be accompanied by
a works cited page, and follow MLA guidelines for research papers.</p>
</div>
<div class="section" id="body.1_div.1_div.8"><h4 align="center">Students with disabilities policy </h4>
<p class=" "><div xmlns:html="http://www.w3.org/1999/xhtml" align="center" class="rightFloat"><a class="colorbox" href="http://www.rc.umd.edu/sites/default/files/imported/pedagogies/contest/2014/images/image40.jpg"><img src="http://www.rc.umd.edu/sites/default/files/imported/pedagogies/contest/2014/images/image40Thumb.jpg"/></a><p class="caption">George Cruikshank, &ldquo;A Thing of No Bowels,&rdquo; from William Hone&rsquo;s
<span xmlns="" class="titlem">The Divine Right of Kings to Rule Wrong!</span> 1821.</p></div> Individuals otherwise qualified shall not be excluded, solely by reason of their
disability, from participation in any academic program nor be denied the benefits of these programs nor be subjected to discrimination. Students with
disabilities that might affect their academic performance are expected to visit with the Office of Services for Students with Disabilities (Counseling Center),
and with their instructors so that appropriate strategies can be developed. SHSU adheres to all applicable federal, state, and local laws, regulations, and
guidelines with respect to providing reasonable accommodations for students with disabilities. All disclosures of disabilities will be kept strictly
confidential. NOTE: No accommodation can be made until you register with the Counseling Center. </p>
</div>
<div class="section" id="body.1_div.1_div.9"><h4 align="center">Academic dishonesty policy
</h4>
<p class=" ">All students are expected to engage in all academic pursuits in a manner that is above reproach. Students are expected to be honest and to pursue their studies
with integrity both in and out of the classroom. The University and its official representatives may initiate disciplinary proceedings against a student
accused of any form of academic dishonesty including, but not limited to, cheating on an examination or other academic work which is to be submitted,
plagiarism, collusion and the abuse of resource materials. For this course, academic dishonesty, including but not limited to plagiarism, is grounds for
immediate failure for the semester, regardless of work previous submitted. Students who do not understand how to properly cite sources may be given the
opportunity to redo the assignment in question, but this is entirely at the discretion of the instructor. <strong xmlns="">If you cheat, do not anticipate that
you will be given a second chance</strong>. If you have any questions or anxieties about what constitutes plagiarism, do not hesitate to ask me or to seek help
at the Writing Center.</p>
</div>
<div class="section" id="body.1_div.1_div.10"><h4 align="center">Course Schedule (subject to changes)</h4>
<p class=" "><strong xmlns="">Thursday, May 31</strong></p>
<p class=" ">Read the syllabus, introduce yourself online and read the introductions of your classmates, and post course questions (if you have any) all under Course Home.</p>
<p class=" ">Posted lecture: &ldquo;Introduction to <span xmlns="" class="titlem">Radical Romantic Publishers</span> and Digital Archives.&rdquo;</p>
<p class=" ">Exam #1 topic posted.</p>
<p class=" ">Reading: Bentley, Chapters I-III; &ldquo;Illuminated Printing,&rdquo; <span xmlns="" class="titlem">Blake Archive</span> (peruse the &ldquo;Glossary&rdquo; as well) <a xmlns="http://www.w3.org/1999/xhtml" class="link_ref" href="http://www.blakearchive.org/blake/about-blake.html" title="http://www.blakearchive.org/blake/about-blake.html">http://www.blakearchive.org/blake/about-blake.html</a> and read several poems from <span xmlns="" class="titlem">Songs of Innocence</span> and <span xmlns="" class="titlem">Songs of Experience</span>.</p>
<p class=" "> Peruse this overview of early British newspapers: <a class="link_ref" href="http://www.georgianindex.net/publications/newspapers/news_sources.html" title="http://www.georgianindex.net/publications/newspapers/news_sources.html">http://www.georgianindex.net/publications/newspapers/news_sources.html</a>.</p>
<p class=" "><strong xmlns="">Friday, June 1</strong></p>
<p class=" ">Posted lecture: &ldquo;On Reading Blake.&rdquo;</p>
<p class=" ">Reading: Bentley, Chapters IV-V; Frye, Northrop, &ldquo;Introduction,&rdquo; <span xmlns="" class="titlem">Selected Prose and Poetry of Blake</span>, Modern Library Edition, New York: Modern Library, 1955, xiii-xxx (posted in course materials); Blake, William, &ldquo;The Marriage of Heaven
and Hell&rdquo; (<span xmlns="" class="titlem">Blake Archive</span>).</p>
<p class=" ">Research discussion: Explore <span xmlns="" class="titlem">The Blake Archive</span>.</p>
<p class=" "><strong xmlns="">Monday, June 4</strong></p>
<p class=" ">Reading: Bentley, Chapters VI, &ldquo;Blake as Publisher,&rdquo; </p>
<p class=" ">&ldquo;Blake&rsquo;s Retreat from the Public,&rdquo; &ldquo;The Journalist and The Visionary: Crabb Robinson and William Blake,&rdquo; &ldquo;Blake on the Fringes of Politics,&rdquo; and the Postscript; Blake&rsquo;s &ldquo;The Book of Urizen,&rdquo; <a class="link_ref" href="http://www.blakearchive.org/exist/blake/archive/work.xq?workid=urizen" title="http://www.blakearchive.org/exist/blake/archive/work.xq?workid=urizen">http://www.blakearchive.org/exist/blake/archive/work.xq?workid=urizen</a>.</p>
<p class=" "><strong xmlns="">Tuesday, June 5</strong></p>
<p class=" ">Exam #1 on Blake due by midnight.</p>
<p class=" "><strong xmlns="">Wednesday, June 6</strong></p>
<p class=" ">Posted lecture: &ldquo;Radicalism and Romantic Circles.&rdquo;</p>
<p class=" ">Reading: Holden, &ldquo;Prologue&rdquo; and Chapters I-III.</p>
<p class=" ">Research discussion: Explore <span xmlns="" class="titlem">Romantic Circles</span> to identify research resources: <a xmlns="http://www.w3.org/1999/xhtml" class="link_ref" href="http://www.rc.umd.edu/" title="http://www.rc.umd.edu/">http://www.rc.umd.edu/</a>.</p>
<p class=" "><strong xmlns="">Thursday, June 7</strong></p>
<p class=" ">Exam #2 topic posted.</p>
<p class=" ">Reading: Holden, Chapters IV-VII; Cox, Jeffrey N., &ldquo;Keats in the Cockney School,&rdquo; , 1996; 2 (1): 27-39 (posted in course materials); Keats, John, &ldquo;Dedication to Leigh Hunt, Esq.,&rdquo; &ldquo;Written On The Day That Mr. Leigh Hunt Left Prison,&rdquo; and &ldquo;Ode to a Nightingale&rdquo;; Shelley, Percy, &ldquo;Ode to a Skylark.&rdquo; </p>
<p class=" "><strong xmlns="">Friday, June 8</strong></p>
<p class=" ">Reading: Holden, Chapters VIII-XI; Shelley, Percy, <span xmlns="" class="titlem">Adona&iuml;s</span>.</p>
<p class=" ">Research discussion: <span xmlns="" class="titlej">The Examiner</span> is available on Google (through book search)&mdash;Find and read <span xmlns="" class="titlej">The Examiner</span> articles on, and poems by, John Keats and Percy Shelley.</p>
<div xmlns:html="http://www.w3.org/1999/xhtml" align="center" class="rightFloat"><a class="colorbox" href="http://www.rc.umd.edu/sites/default/files/imported/pedagogies/contest/2014/images/image5.png"><img src="http://www.rc.umd.edu/sites/default/files/imported/pedagogies/contest/2014/images/image5Thumb.png"/></a><p class="caption">Anonymous artist, <span xmlns="" class="titlem">Peterloo Massacre</span>, original illustration published by Richard Carlile, 1819.</p></div>
<p class=" "><strong xmlns="">Monday, June 11</strong></p>
<p class=" ">Posted lecture: &ldquo;Peterloo.&rdquo;</p>
<p class=" ">Reading: Holden, XII-XIV: Shelley, Percy, &ldquo;England 1819.&rdquo; Research discussion: <span xmlns="" class="titlej">The Examiner</span> is available on Google (through book search)&mdash;Find and read <span xmlns="" class="titlej">The Examiner</span> accounts of Peterloo.</p>
<p class=" "><strong xmlns="">Tuesday, June 12</strong></p>
<p class=" ">Exam #2 due on Hunt by midnight. </p>
<p class=" "><strong xmlns="">Wednesday, June 13</strong></p>
<p class=" ">Posted Lecture: &ldquo;Reintroducing John Cahuac.&rdquo;</p>
<p class=" ">Reading: Wilson, Part I; Cahuac, John, &ldquo;Who Killed Cock Robin?&rdquo; (posted in course materials); Hone, William, &ldquo;The Political House that Jack Built&rdquo; (available on Romantic Circles).</p>
<p class=" "> Research discussion: explore <span xmlns="" class="titlem">The William Hone Biotext</span>.</p>
<p class=" "><strong xmlns="">Thursday, June 14</strong></p>
<p class=" ">Exam #3 topic posted.</p>
<p class=" "> Reading: Wilson, Part II; Grimes, Kyle, &ldquo;Chapter Nine: Verbal Jujitsu: William Hone and the Tactics of Satirical Conflict,&rdquo; <span xmlns="" class="titlem">The Satiric Eye: Forms of Satire in the Romantic Period</span>, Ed. Steven E. Jones, New York: Palgrave, 2003 (posted in course materials).</p>
<p class=" "><strong xmlns="">Friday, June 15</strong></p>
<p class=" ">Reading: Wilson, Part III; Cahuac, John, &ldquo;Letter to Lord Sidmouth&rdquo; (posted in course materials).</p>
<p class=" "><strong xmlns="">Monday, June 18</strong></p>
<p class=" ">Reading: Wilson, Part IV; Shelley, Percy, &ldquo;The Mask of Anarchy.&rdquo;</p>
<p class=" "><strong xmlns="">Tuesday, June 19</strong></p>
<p class=" ">Exam #3 due on Hone by midnight. </p>
<p class=" "><strong xmlns="">Wednesday, June 20</strong></p>
<p class=" ">Reading: Ingrams, Chapters I-III. </p>
<p class=" "><strong xmlns="">Thursday, June 21</strong></p>
<p class=" ">Exam #4 topic posted.</p>
<p class=" "> Reading: Ingrams, Chapters IV-VI; Gilmartin, Kevin, &ldquo;Introduction&rdquo; and &ldquo;Reading Cobbett&rsquo;s contradictions,&rdquo; <span xmlns="" class="titlem">Print Politics: The Press and Radical Opposition in Early Nineteenth-Century England</span>, Cambridge: Cambridge UP, 1996, 158-194 (posted in course materials). </p>
<p class=" ">Research discussion: explore Cobbett&rsquo;s early <span xmlns="" class="titlem">Rural Rides</span> <a xmlns="http://www.w3.org/1999/xhtml" class="link_ref" href="http://archive.org/details/ruralrides01cobb" title="http://archive.org/details/ruralrides01cobb">http://archive.org/details/ruralrides01cobb</a>. </p>
<div xmlns:html="http://www.w3.org/1999/xhtml" align="center" class="rightFloat"><a class="colorbox" href="http://www.rc.umd.edu/sites/default/files/imported/pedagogies/contest/2014/images/image6.jpg"><img src="http://www.rc.umd.edu/sites/default/files/imported/pedagogies/contest/2014/images/image6Thumb.jpg"/></a><p class="caption">William Blake, <span xmlns="" class="titlem">The Book of my Remembrance</span>, c. 1796,
relief etching color printed, with pen and watercolor</p></div>
<p class=" "><strong xmlns="">Friday, June 22</strong></p>
<p class=" ">Reading: Ingrams, Chapters VII-IX.</p>
<p class=" "><strong xmlns="">Monday, June 25</strong></p>
<p class=" ">Reading: Ingrams, Chapters X-XII. </p>
<p class=" "><strong xmlns="">Tuesday, June 26</strong></p>
<p class=" ">Exam #4 on Cobbett due by midnight. </p>
<p class=" "><strong xmlns="">Wednesday, June 27</strong></p>
<p class=" ">Final paper due by midnight. </p>
</div>
<div class="section" id="body.1_div.1_div.11"><h4 align="center">Exam Topics</h4>
<p class=" ">These are open book, open note, open resource exams, but your exams must represent your own thinking and must provide your own original
analysis. You must provide MLA citations for all sources used. Each time, you have two hours to compose your response to the assigned topic. You may break
this into two, one-hour sessions so long as the break between the two sessions does not exceed half-an-hour. Do not spend more that two hours writing this
exam, and do not break the time up into more than two sessions. You may take time out for bathroom breaks or smoke breaks, but try to stay focused. But,
you may spend as much time preparing to write it&mdash;by readings, taking notes, discussion ideas with others, etc.&mdash;and you may prepare your works cited in
advance of writing your response. Late exams will receive zero credit, unless you can provide appropriate proof of hospitalization, decapitation, or a
significant family emergency (such as major house explosion of not a single toilet or hot water heater but of a whole wing, a death in your immediate
family, but not some third-removed cousin who happened to have had a horrific accident at Splashtown where the service is being held).</p>
<p class=" ">There is no length-requirement, but the typical exam runs around 1000 words. Focus on answering the question as best you can in the
time allotted. You are welcome to ask questions at any point up until you begin your two hours of writing. If you need or want recommendations, ask in the
discussion area. When in doubt, email me! </p>
<p class=" ">First Exam Topic: <strong xmlns="">The Freedom of Self-Publication</strong></p>
<p class=" ">Premise: for much of his career, Blake had near complete control over his artistic productions&mdash;from their conception, through their
composition and publication, to their distribution. Question: how did Blake&rsquo;s self-publication affect his artistic productions?</p>
<p class=" ">Parameters:</p>
<p class=" ">1. Focus on a specific example from his poetry (a short poem or a passage from a longer work), but you should also include relevant
historical/biographical context.</p>
<p class=" ">2. Work with the Blake Archive and critical sources you have gathered.</p>
<p class=" ">3. Include an MLA works cited at the end of your exam (which you may prepare in advance).</p>
<p class=" ">Second Exam Topic: <strong xmlns="">The Defiance of Self-Publication</strong></p>
<p class=" ">Premise: for much of his career, Hunt had was able to publish ideas and literary works hostile to the government and as a result he
fostered a coterie of radical authors and a culture of defiance. Question: explore how this culture of defiance permeated literary and/or non-literary
productions from the Cockney School.</p>
<p class=" ">Parameters:</p>
<p class=" ">1. Focus on a specific passage from Hunt's publications and/or the writings of the Cockney School (a short poem or a passage from a
longer work), but you should also include relevant historical/biographical context.</p>
<p class=" ">2. Work with scholarly sources you have gathered from <span xmlns="" class="titlem">Romantic Circles</span>.</p>
<p class=" ">3. Include an MLA works cited at the end of your exam (which you may prepare in advance).</p>
<p class=" ">Third Exam Topic:&nbsp;<strong xmlns="">Fighting the Government</strong></p>
<p class=" ">Premise: to criticize the government or established church in print was a dangerous act in Regency England, even more so after
Peterloo. Question: Explore through a comparative analysis different rhetorical strategies or modes that radical Romantics adopted in their battle for
freedom of the press and the right to free speech after the 1819 massacre.</p>
<p class=" ">Parameters:</p>
<p class=" ">1. Focus on a specific passages and/or images&nbsp;(a short poem and/or a passage from a longer work)&nbsp;from Hone's publications, as well as
selections from Hunt's publications, the writings of the Cockney School, the Hone circle, and/or Cahuac. Also, you should also include relevant
historical/biographical context (though you may assume your audience knows the broad strokes of what happened at Peterloo).</p>
<p class=" ">2. Work with the <span xmlns="" class="titlem">Hone BioText</span>.</p>
<p class=" ">3. Include an MLA works cited at the end of your exam (which you may prepare in advance).</p>
<p class=" ">Fourth Exam Topic: <strong xmlns="">Prison Time</strong></p>
<p class=" ">Premise: Both Hunt's and Cobbett's time in prison, and prisons are a recurrent topic in their papers. Executions were common as was
transportation, and debt could land you in prison. Question: What did Cobbett and his contemporaries think about the prison institution (be as specific as
possible)?</p>
<p class=" ">Parameters:</p>
<p class=" ">1. Focus on a specific passage&nbsp;from Cobbett's publications.</p>
<p class=" ">2. Include an MLA works cited at the end of your exam (which you may prepare in advance).</p>
</div>
</div>
</div></div></div></div><section class="field field-name-field-parent-section field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Section:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/node/31530">Pedagogies</a></div></div></section><section class="field field-name-field-resource-index field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Resource:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/pedagogies/contest">NASSR/Romantic Circles Pedagogy Contest</a></div></div></section><section class="field field-name-field-authored-by-secondary- field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Authored by (Secondary):&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/person/demson-michael">Demson, Michael</a></div></div></section><section class="field field-name-taxonomy-vocabulary-3 field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Tags:&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/taxonomy/term/3601" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">syllabi</a></li><li class="field-item odd"><a href="/category/tags/syllabus-pedagogy-contest" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">syllabus Pedagogy Contest</a></li><li class="field-item even"><a href="/taxonomy/term/757" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">pedagogy</a></li></ul></section><section class="field field-name-field-syllabi-categories field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Syllabi Categories:&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/category/syllabi-categories/winners-nassrromantic-circles-pedagogy-contest" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Winners of the NASSR/Romantic Circles Pedagogy Contest</a></li></ul></section><section class="field field-name-field-xml-tei field-type-link-field field-label-above view-mode-fulltext"><h2 class="field-label">XML:TEI:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="http://www.rc.umd.edu/sites/default/files/imported/pedagogies/contest/2014/pedagogies.contest.2014.demson.xml" target="_blank" class="teiButton">XML : TEI</a></div></div></section>Mon, 24 Nov 2014 17:01:55 +0000rc-admin55230 at http://www.rc.umd.eduTranslation Theory / Pedagogical Practice: Teaching Romantic Translation(s)http://www.rc.umd.edu/pedagogies/commons/translation
<div class="field field-name-field-index-banner field-type-image field-label-hidden view-mode-fulltext"><div class="field-items"><figure class="clearfix field-item even"><img typeof="foaf:Image" class="image-style-index-banner" src="http://www.rc.umd.edu/sites/default/files/styles/index_banner/public/translation_0.jpg?itok=VNhqEZvo" width="800" height="266" alt="" /></figure></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even" property="content:encoded"><div id="IndexContent">
<h2 class="TOC">Table of Contents</h2>
<ul id="TOCContent">
<li class="LargeObject"><a href="/pedagogies/commons/translation/commons.2014.translation.about.html">About this Volume</a></li>
<li class="EssayTitle"><a href="/pedagogies/commons/translation/commons.2014.translation.wharram_intro.html">Preface: "Objects of Translation(s)"</a></li>
<li class="AuthorInfo">C.C. Wharram, Eastern Illinois University</li>
<li class="ChildContent"><a class="colorbox-node" href="/node/52054/abstract?width=450&height=300">Abstract</a> | <a href="/pedagogies/commons/translation/commons.2014.translation.wharram_intro.html">Essay</a></li>
<li class="EssayTitle"><a href="/pedagogies/commons/translation/commons.2014.translation.alshatti.html">"Goethe and the 'Werther Sonnets' of Romantic-era Women Writers"</a></li>
<li class="AuthorInfo">Aishah Alshatti, Kuwait University</li>
<li class="ChildContent"><a class="colorbox-node" href="/node/52048/abstract?width=450&height=300">Abstract</a> | <a href="/pedagogies/commons/translation/commons.2014.translation.alshatti.html">Essay</a></li>
<li class="EssayTitle"><a href="/pedagogies/commons/translation/commons.2014.translation.dewispelare.html">"Teaching Romanticism and Translation through British Hebraism"</a></li>
<li class="AuthorInfo">Daniel DeWispelare, George Washington University</li>
<li class="ChildContent"><a class="colorbox-node" href="/node/52049/abstract?width=450&height=300">Abstract</a> | <a href="/pedagogies/commons/translation/commons.2014.translation.dewispelare.html">Essay</a></li>
<li class="EssayTitle"><a href="/pedagogies/commons/translation/commons.2014.translation.dow.html">"Translation for Beginners, or, Teaching the 'Dangerous' in <em>Les Liaisons Dangereuses</em>"</a></li>
<li class="AuthorInfo">Gillian Dow, University of Southampton</li>
<li class="ChildContent"><a class="colorbox-node" href="/node/52050/abstract?width=450&height=300">Abstract</a> | <a href="/pedagogies/commons/translation/commons.2014.translation.dow.html">Essay</a></li>
<li class="EssayTitle"><a href="/pedagogies/commons/translation/commons.2014.translation.scholl.html">"Translation and the Victorian Culture of the Mind: Literature as Cultural History"</a></li>
<li class="AuthorInfo">Lesa Scholl, Emmanuel College, University of Queensland</li>
<li class="ChildContent"><a class="colorbox-node" href="/node/52052/abstract?width=450&height=300">Abstract</a> | <a href="/pedagogies/commons/translation/commons.2014.translation.scholl.html">Essay</a></li>
<li class="EssayTitle"><a href="/pedagogies/commons/translation/commons.2014.translation.henitiuk.html">"From Pre-Modern Japan to the Twenty-First Century World: Comparative Translation in the Classroom"</a></li>
<li class="AuthorInfo">Valerie Henitiuk, MacEwan University</li>
<li class="ChildContent"><a class="colorbox-node" href="/node/52051/abstract?width=450&height=300">Abstract</a> | <a href="/pedagogies/commons/translation/commons.2014.translation.henitiuk.html">Essay</a></li>
<li class="EssayTitle"><a href="/pedagogies/commons/translation/commons.2014.translation.wharram.html">"Translation as 'Genre in its own Excess': Germaine de Staël’s 'On the Spirit of Translation(s)'"</a></li>
<li class="AuthorInfo">Germaine de Staël, Trans. C.C. Wharram, Eastern Illinois University</li>
<li class="ChildContent"><a class="colorbox-node" href="/node/52053 /abstract?width=450&height=300">Abstract</a> | <a href="/pedagogies/commons/translation/commons.2014.translation.wharram.html">Essay</a></li>
</ul>
</div></div></div></div><div class="field field-name-field-published field-type-date field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even"><span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2014-07-01T00:00:00-04:00">July 2014</span></div></div></div><section class="field field-name-field-parent-section field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Section:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/node/31530">Pedagogies</a></div></div></section><section class="field field-name-field-edited-by field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Edited By:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/person/wharram-cc">Wharram, C.C.</a></div></div></section><section class="field field-name-field-resource-technical-editor field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Resource Technical Editor:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/person/quilligan-michael">Quilligan, Michael</a></div></div></section><section class="field field-name-taxonomy-vocabulary-3 field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Tags:&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/taxonomy/term/915" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">translation</a></li><li class="field-item odd"><a href="/category/tags/translation-theory" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Translation Theory</a></li><li class="field-item even"><a href="/category/tags/translation-studies" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">translation studies</a></li><li class="field-item odd"><a href="/taxonomy/term/757" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">pedagogy</a></li><li class="field-item even"><a href="/taxonomy/term/985" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">literary pedagogy</a></li></ul></section>Tue, 04 Feb 2014 15:46:05 +0000rc-admin50096 at http://www.rc.umd.eduPublic Romanticism and the Public Humanities: A Graduate Seminarhttp://www.rc.umd.edu/pedagogies/contest/2013.guyer
<div class="field field-name-field-published field-type-date field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even"><span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2013-11-01T00:00:00-04:00">November 2013</span></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even" property="content:encoded"><div id="body.1_div.1"><h3 align="center">"Public Romanticism and the Public Humanities: A Graduate Seminar" </h3><p xmlns=""><strong>Sara Guyer</strong><br><strong>University of Wisconsin-Madison</strong></p><table xmlns:html="http://www.w3.org/1999/xhtml" xmlns:tei="http://www.tei-c.org/ns/1.0" xmlns:m="http://www.w3.org/1998/Math/MathML" xmlns="" width="100%" cellpadding="0" border="0"><tr><td width="50%"><div xmlns="http://www.w3.org/1999/xhtml" align="right" id="tei"><a href="/sites/default/files/imported/pedagogies/contest/XML/2013.guyer.xml"><img alt="TEI" height="15" width="80" align="right" src="/sites/default/files/imported/pedagogies/contest/images/xml-tei_button.gif"/></a></div></td></tr></table>
<div xmlns="http://www.w3.org/1999/xhtml" class="section" id="body.1_div.1_div.1"><h4 xmlns="http://www.w3.org/1999/xhtml" align="center"> </h4>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><strong>1</strong>.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;In the spring of 2013 I taught a new graduate seminar on &ldquo;Public Romanticism and the Public Humanities.&rdquo; The course rested on the assumption that the turn to thinking about publics in romanticism (from work on print culture and publication, to political culture, posterity, and more recently the romantic lecture) could help us to understand the emerging field of the public humanities and could exemplify the possibility of a serious engagement with public scholarship that overcomes the putative opposition between theoretical rigor and expanding audiences. The aim of this course was to consider the &ldquo;resistance to public scholarship,&rdquo; along the lines that Paul de Man (and later J. Hillis Miller and Rey Chow) examined the resistance to - and of - theory. </p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><strong>2</strong>.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;As Director of the Center for the Humanities at UW-Madison, I am intensely focused on two overlapping aspects of the public humanities, (1) the development of new audiences for research in the humanities and relatedly of a culture in which scholars and not only journalists help to shape public discourse (2) the recognition that due to shrinking enrollments on campuses and growing enrollments online, the job market for humanities PhDs is as tight as ever. Rather than simply give up on the PhD in the humanities, discouraging even our best undergraduates from undertaking graduate work, I advocate strongly for the position that we should begin to see the PhD, , as preparation for a range of careers. To make good on this position, I am committed to developing new opportunities to prepare our graduates for careers other than those as tenure-track professors and also to help effect a cultural shift that registers the value of the humanities. My most recent efforts have included, the development and implementation of job-based fellowships in cultural institutions in lieu of TA-ships, programs for graduate students (and faculty) who wish to translate their research into projects that will reach new audiences, and this course. </p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><strong>3</strong>.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Now, a course on romanticism seems like one of the least likely places to explore these shifts and possibilities, but the poetry that interests me and that I love to teach &ndash; poetry that is alternatively hermetic and activist, and resistant in every sense &ndash; turns out to be a model for thinking about the very relations that are at the heart of contemporary discussions of the public humanities: questions of the individual, the poor, education, cities, the value of poetry and the arts, vocation, etc. Thus, in preparation for the development of a full-scale graduate certificate in the Public Humanities, I undertook to offer an experimental graduate seminar that set out from thinking about romantic, idealist, and post-romantic theories of the public (and in particular , e.g., Schiller, Habermas) before turning to an intensive examination of romantic poetry and its readers (Wordsworth, Shelley, Clare, and Keats) and culminating in a consideration of contemporary reflections on the humanities (e.g., recent essays collected in and elsewhere) and examples of public experiments (in the digital public sphere above all, but also including the Movement). For their final paper, students were given the option of writing a conventional seminar paper (these included an essay on Byron&rsquo;s hands, on Clare as a public poet, and on the letter from the editor in the nineteenth century press and its parallels in contemporary internet culture) or developing a project that could reach a broader audience, which included an essay on popular environmental poetry written for a popular audience, and a video on the public eye of Google Earth. </p>
<p xmlns="http://www.w3.org/1999/xhtml" class=" "><strong>4</strong>.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;While much of the recent work in the public humanities has focused on public scholarship by historians and on storytelling more generally, with this course I expected graduate students in literature &ndash; indeed in a field that is at once popular (who doesn&rsquo;t love Keats!?!) and obscure (who reads poetry!?!) &ndash; to discover that their work can at once maintain the highest levels of scholarly rigor and also find audiences and recognition beyond the narrowest domains of their field. Weekly course discussions often exceeded the topics formally outlined and included avid discussions of access (digital and physical); university administration; the value of close reading and that of computational methods and statistical research (heightened by Mary Poovey&rsquo;s visit to campus the previous semester). Students emerged energized. Those who doubted whether they would stick with the PhD program found a new way of thinking about their research. Others expressed an interest in undertaking their own public projects. And (perhaps above all) rather than seeing romanticism as opposed to the kind of committed work in which they believed, they found romanticism to be a tool that could leverage critical energy and possibility. While the debate about the crisis of the humanities endures, the students in this course found a new way in and through it &ndash; and a new way of articulating the possibilities of scholarly work in literature.</p>
</div>
<div class="section" id="body.1_div.1_div.2"><h4 align="center">Course Description:</h4>
<p class=" ">Several recent critics, including Andrew Franta and Paul Magnuson, have considered romanticism's unlikely engagement with the public and the place of public discourse, publication, and audience for poets who are conventionally understood as withdrawn and obsessed with a private aesthetic. Can this approach to romanticism and its poetry help us to rethink the current (and ongoing) crisis in the humanities, and in particular, the efforts to invent a public humanities that imagines new audiences, new media, and new venues for scholarly research? In this seminar we will consider the competing versions of &ldquo;public&rdquo; romanticism that have emerged in recent years with the aim of thinking about the public humanities more generally. &nbsp;Along the way, we may take up questions of gender, resistance, activism, and posterity. In addition to the authors named above, we will read works by William Wordsworth, Mary Wollstonecraft, PB Shelley, Friedrich Schiller, John Clare, Michael Warner, Michael B&eacute;rub&eacute;, Doris Sommer, Susan Wolfson, Lauren Berlant, and Andrew Bennett, among others, including Rebecca Solnit and contributors to <span xmlns="" class="titlem">Occupy! Scenes from Occupied America.</span>
</p>
</div>
<div class="section" id="body.1_div.1_div.3"><h4 align="center">Books</h4>
<p class=" ">J. Habermas, <span xmlns="" class="titlem">Structural Transformation of the Public Sphere</span> (MIT)</p>
<p class=" ">M. Warner, <span xmlns="" class="titlem">Publics and Counterpublics </span>(Zone)</p>
<p class=" "><span xmlns="" class="titlem">Shelley&rsquo;s Poetry and Prose</span> (Norton)</p>
<p class=" "><span xmlns="" class="titlem">Keats&rsquo;s Poetry and Prose </span>(Norton)</p>
<p class=" ">Wordsworth and Coleridge, <span xmlns="" class="titlem">Lyrical Ballads</span> (Longman)</p>
<p class=" ">Clare, <span xmlns="" class="titlem">Major Works</span> (Oxford)</p>
<p class=" ">Schiller, <span xmlns="" class="titlem">The Aesthetic Education of Man</span> (Oxford)</p>
<p class=" ">Mee and Fallon, <span xmlns="" class="titlem">Romanticism and Revolution</span> (Wiley-Blackwell)</p>
<p class=" ">M.H. Abrams, <span xmlns="" class="titlem">The Mirror and the Lamp </span>(Oxford)</p>
<p class=" ">Marc Redfield, <span xmlns="" class="titlem">The Politics of Aesthetics</span> (Stanford)</p>
<p class=" ">Andrew Franta, <span xmlns="" class="titlem">Romanticism and the Rise of the Mass Public </span>(Cambrdge)</p>
<p class=" ">
: </p>
<p class=" ">Wolfson, <span xmlns="" class="titlem">Romantic Interactions</span> (Kindle) </p>
<p class=" ">Keen, <span xmlns="" class="titlem">The Crisis of Literature in the 1790s</span> (Kindle)</p>
<p class=" ">Sennett, <span xmlns="" class="titlem">The Fall of Public Man</span> (Kindle)</p>
</div>
<div class="section" id="body.1_div.1_div.4"><h4 align="center">Presentations:</h4>
<p class=" ">Each student will be responsible for initiating class discussion once during the semester. Please let us know one week in advance what texts or passages will be of primary concern to your engagement so that we can focus our reading accordingly.</p>
</div>
<div class="section" id="body.1_div.1_div.5"><h4 align="center">Research Paper</h4>
<p class=" "><strong xmlns="">Due in my University Club office at 4pm on May 17th.</strong> Please plan to discuss your research paper with me early in the semester. Papers need not be &ldquo;about&rdquo; romantic period texts although they should reflect a serious engagement with and understanding of romanticism.</p>
</div>
<div class="section" id="body.1_div.1_div.6"><h4 align="center">Reading Schedule</h4>
<p class=" ">
<strong xmlns="">January 28: Introductions</strong>
</p>
<p class=" ">
</p>
<p class=" ">
<strong xmlns="">February 4: What do we mean when we say Public (I)?</strong>
</p>
<p class=" ">Habermas, <span xmlns="" class="titlem">The Structural Transformation of the Public Sphere</span>
</p>
<p class=" ">
<strong xmlns="">February 11: What do we mean when we say Public (II)?</strong>
</p>
<p class=" ">Warner, <span xmlns="" class="titlem">Publics and Counterpublics</span>
</p>
<p class=" ">Lauren Berlant, "The Intimate Public Sphere" (online)</p>
<p class=" ">
<strong xmlns="">February 18: Aesthetics and Politics I</strong>
</p>
<p class=" ">Schiller, <span xmlns="" class="titlem">The Aesthetic Education of Man </span>
</p>
<p class=" ">
<strong xmlns="">February 25: Aesthetics and Politics II</strong>
</p>
<p class=" ">Adorno, "Commitment" ; "On Lyric Poetry and Society" (online)</p>
<p class=" ">
Sartre, "Why Write?" Judith Butler, "Values of Difficulty" (online)</p>
<p class=" ">
<strong xmlns="">March 4: No Seminar (Heavy Reading for 3/11!)</strong>
</p>
<p class=" ">
<strong xmlns=""> 9-4pm: <a xmlns="http://www.w3.org/1999/xhtml" class="link_ref" href="http://humanities.wisc.edu/public-projects/public-humanities-conference/2012-agenda/" title="http://humanities.wisc.edu/public-projects/public-humanities-conference/2012-agenda/">http://humanities.wisc.edu/public-projects/public-humanities-conference/2012-agenda/</a></strong>
</p>
<p class=" ">
</p>
<p class=" ">
<strong xmlns="">March 11: Romanticism and Public Romanticism Then </strong>
<strong xmlns="">Now</strong>
</p>
<p class=" ">Abrams, <span xmlns="" class="titlem">The Mirror and the Lamp</span>
</p>
<p class=" ">Romanticism and its Publics: A Forum. <span xmlns="" class="titlej">Studies in Romanticism </span>1994 (online)</p>
<p class=" ">Langan and McLane, "The Medium of Romantic Poetry" (online)</p>
<p class=" ">A. Bennett, "Narrative and Audience in Romantic Poetics" in <span xmlns="" class="titlem">Keats, Narrative, and Audience: The Posthumous Life of Writing</span> (online)</p>
<p class=" ">
<strong xmlns="">March 18: Wordsworth and Coleridge, </strong>
<span xmlns="" class="titlem">The Lyrical Ballads</span>
</p>
<p class=" ">Ballads and Prefaces</p>
<p class=" ">Wordsworth, "Essay Supplementary to the Preface of 1815" </p>
<p class=" ">Franta, "Wordsworth&rsquo;s Audience Problem" in <span xmlns="" class="titlem">Romanticism and the Rise of the Mass Public</span>
</p>
<p class=" ">
: Magnuson, "The Tempests of <em xmlns="">Lyrical Ballads</em>" (online)</p>
<p class=" ">
<strong xmlns="">March 25: Spring Break </strong>
</p>
<p class=" ">
<strong xmlns="">April 1: Shelley&rsquo;s Poetry and Prose</strong>
</p>
<p class=" ">"England in 1819" ; "Mask of Anarchy," "A Defense of Poetry" </p>
<p class=" ">S. Wolfson, "Poetic Form and Political Reform" (Norton Shelley)</p>
<p class=" ">M. Redfield, "Shelley&rsquo;s Political Poetics" </p>
<p class=" ">
<strong xmlns="">April 8: Clare, <span class="titlem">Major Works</span></strong>
</p>
<p class=" ">Poems: &ldquo;I Am&rdquo; (both); &ldquo;The Mores,&rdquo; &ldquo;On Taste,&rdquo; &ldquo;Fate of Genius,&rdquo;; etc. </p>
<p class=" ">Prose: all.</p>
<p class=" ">
<strong xmlns="">April 15: Keats&rsquo;s Poetry and Prose</strong>
</p>
<p class=" ">&ldquo;Hyperion&rdquo; poems</p>
<p class=" ">&ldquo;This living hand&hellip;&rdquo;</p>
<p class=" ">&ldquo;To Autumn&rdquo; and odes.</p>
<p class=" ">Franta, &ldquo;Keats and the Review Aesthetic&rdquo; in
</p>
<p class=" ">A. Bennett, &ldquo;Hyperion Poems&rdquo; (Norton Keats)</p>
<p class=" ">
<strong xmlns="">April 22: Romanticism and Revolution</strong>
</p>
<p class=" ">Mee and Fallon.</p>
<p class=" ">
<strong xmlns="">
<br xmlns="http://www.w3.org/1999/xhtml"/>April 29: Anxiety, Crisis, Reflection, Use</strong>
</p>
<p class=" ">Essays published in:</p>
<p class=" ">
(online)</p>
<p class=" ">
PDF available here: http://www.news.cornell.edu/stories/may06/humanities_essays.pdf</p>
<p class=" ">
<strong xmlns="">May 6: Action, Intervention, Invention: Case Studies</strong>
</p>
<p class=" ">May include essays from n+1 on Occupy!; &ldquo;Cette France-l&agrave;&rdquo;; TED and the romantic lecture craze (Favret); discussion of a new &ldquo;Public Humanities&rdquo; graduate certificate, etc.</p>
<p class=" ">
<strong xmlns="">May 17: Paper Due</strong>
</p>
</div>
</div> </div></div></div><section class="field field-name-field-parent-section field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Section:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/node/31530">Pedagogies</a></div></div></section><section class="field field-name-field-resource-index field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Resource:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/pedagogies/contest">NASSR/Romantic Circles Pedagogy Contest</a></div></div></section><section class="field field-name-field-authored-by-secondary- field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Authored by (Secondary):&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/person/guyer-sara">Guyer, Sara</a></div></div></section><section class="field field-name-taxonomy-vocabulary-3 field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Tags:&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/taxonomy/term/3601" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">syllabi</a></li><li class="field-item odd"><a href="/taxonomy/term/3600" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">syllabus</a></li><li class="field-item even"><a href="/category/tags/public-humanities" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">public humanities</a></li><li class="field-item odd"><a href="/taxonomy/term/1122" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">professionalization</a></li><li class="field-item even"><a href="/category/tags/pedagogy-contest" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Pedagogy Contest</a></li><li class="field-item odd"><a href="/taxonomy/term/757" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">pedagogy</a></li></ul></section><section class="field field-name-field-syllabi-categories field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Syllabi Categories:&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/category/syllabi-categories/winners-nassrromantic-circles-pedagogy-contest" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Winners of the NASSR/Romantic Circles Pedagogy Contest</a></li></ul></section>Tue, 03 Dec 2013 13:24:00 +0000rc-admin48980 at http://www.rc.umd.eduNASSR/Romantic Circles Pedagogy Contesthttp://www.rc.umd.edu/pedagogies/contest
<div class="field field-name-field-index-banner field-type-image field-label-hidden view-mode-fulltext"><div class="field-items"><figure class="clearfix field-item even"><img typeof="foaf:Image" class="image-style-index-banner" src="http://www.rc.umd.edu/sites/default/files/styles/index_banner/public/pedContest.jpg?itok=u59O0hmf" width="800" height="267" alt="NASSR/Romantic Circles Pedagogy Award" title="NASSR/Romantic Circles Pedagogy Award" /></figure></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even" property="content:encoded"><div id="IndexContent">
<div id="accordion">
<h3><a href="#">Contest Winners</a></h3>
<div><h2>2015 WINNER</h2>
<p><strong>Jessie Reeder, Assistant Professor, SUNY Binghamton</strong><br/>
<a href="contest/2015.reeder">"Revolutionary Writing"</a></p>
<h3>2015 Additional Finalists</h3>
<p><strong>Daniel Block, Visiting Assistant Professor, Five Colleges</strong><br/>
<a href="contest/2015.block">"Romantic Remediations: A Creative Writing Assignment"</a></p>
<p><strong>Mai-Lin Cheng, Assistant Professor, Clark Honors College, University of Oregon</strong><br/>
<a href="contest/2015.cheng">"Romantic Stories."</a></p>
<br />
<hr />
<h2><a id="previous"></a>PREVIOUS WINNERS &amp; FINALISTS</h2>
<h3>2014 Winners</h3>
<p><strong>Lindsey Eckert, Assistant Professor of English, Georgia State University</strong><br />
<a href="contest/2014.eckert">"Romanticism and Technologies of Information"</a><br/>
(Spring 2014)</p>
<p><strong>Lissette Lopez Szwydky, Assistant Professor of English, University of Arkansas</strong><br />
<a href="contest/2014.szwydky">“Mary Shelley in Context(s): Wikis and Blogs in Romanticism Courses”</a><br/>
(Fall 2013/Spring 2015)</p>
<h3>Additional 2014 Finalists</h3>
<p><strong>Michael Demson, Assistant Professor of English, Sam Houston State University</strong><br />
<a href="contest/2014.demson">“Radical Publishers of the Romantic Era”</a><br/>
(Summer 2014)</p>
<p><strong>Emily Rohrbach, Assistant Professor of English, Northwestern University</strong><br />
<a href="contest/2014.rohrbach">“Theories of the Sublime: Longinus, Burke, Kant, and Ngai”</a><br/>
(Taught Spring 2012/Spring 2015)</p>
<br />
<hr />
<h3>2013 Winners</h3>
<p><strong>David Ruderman, Assistant Professor, Ohio State University, Newark</strong><br />
<a href="contest/2013.ruderman">“Repetitions of the Romantic: An Investigation into Romantic and Post-Romantic Art”</a><br />
(To be taught fall 2013)</p>
<p><strong>Sara Guyer, Associate Professor and Director of the Center for the Humanities, University of Wisconsin Madison</strong><br />
<a href="contest/2013.guyer">“Public Romanticism and the Public Humanities: A Graduate Seminar”</a><br />
(Taught spring 2013)</p>
<h3>Additional 2013 Finalists</h3>
<p><strong>Rachel Feder, Rutgers University</strong><br />
<a href="contest/2013.feder">“Teaching early Romantic literature with a concluding unit on contemporary experimental poetry and neo-Gothic literature”</a><br />
(Taught spring 2013)</p>
<p><strong>Samantha Harvey, Associate Professor, Boise State University</strong><br />
<a href="contest/2013.harvey">“The Idea of Nature in Transatlantic Romanticism”</a><br />
(To be taught Fall 2014 and Spring 2015)</p></div>
<h3><a href="#">About the Contest</a></h3>
<div>
<p>The contest was devised in the hopes of celebrating recent pedagogical innovation, inspiring creative new approaches and creating an additional forum for conversations about Romantic pedagogy—both its boons and challenges. Teachers of all ranks may submit teaching materials, and a panel of three to four finalists are selected to discuss their pedagogy during a panel at the annual NASSR conference. Exemplary submissions consider how teaching revivifies Romanticism, in any of its myriad forms. </p>
<p>Submissions might include a course that rethinks the period; a part of a course that addresses a specific author, theory, or literary problem; a special project, assignment, or a particular pedagogical technique. We encourage the use of multimedia resources, digital techniques, and courses designed to use multi-modal digital platforms for learning and communication, but they are by no means required. Courses and projects should be recent—within the past two academic years—or projected to be taught in the following one.</p>
<p>After submitting a small packet of material, finalists are chosen via author-blind peer review by a committee composed of members of NASSR in the US, UK, and beyond, Romantic Circles, and the NASSR Graduate Caucus. Finalists will give a short presentation on their courses and pedagogies at a special panel during the NASSR conference, and their syllabi will be published on the Romantic Circles Pedagogies website. The winner, chosen after the panel, will receive a $250 award and recognition at the NASSR banquet.</p>
<p>See below for the list of previous winners and finalists as well as their syllabi and course materials. Some contestants have also volunteered an introductory or concluding statement discussing the aims of the course or its end results, depending on whether they have taught the course or are anticipating its teaching.</p>
<p>The contest is sponsored by the NASSR Advisory Board, the NASSR Organizing Committee, and the Romantic Circles website.</p></div>
<h3><a href="#">Submissions</a></h3>
<div><p>Please send a document of between 3-5 pages to nassrpedagogycontest [at] gmail [dot] com. Submission dates can be found on the NASSR conference website of the local organizers. Please include a cover letter with identifying information, which should be left off all other documents. Initial queries and questions are welcomed at the email address above.</p>
<p>Potential materials might include but are not limited to:<br />
- A cover letter and explanation of the submission, including an argument as to the course or project’s pedagogical innovation and benefits<br />
- Syllabus or parts of a syllabus<br />
- Assignment sheets<br />
- Multimedia or digital materials</p></div>
</div></div></div></div></div><div class="field field-name-field-published field-type-date field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even"><span class="date-display-single" property="dc:date" datatype="xsd:dateTime" content="2015-12-01T00:00:00-05:00">December 2015</span></div></div></div><section class="field field-name-field-resource-index field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Resource:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/node/31530">Pedagogies</a></div></div></section><section class="field field-name-field-parent-section field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Section:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/node/31530">Pedagogies</a></div></div></section><section class="field field-name-field-edited-by field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Edited By:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/person/singer-kate">Singer, Kate</a></div></div></section><section class="field field-name-field-resource-technical-editor field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Resource Technical Editor:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/person/quilligan-michael">Quilligan, Michael</a></div></div></section><section class="field field-name-taxonomy-vocabulary-3 field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Tags:&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/category/tags/pedagogy-contest" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Pedagogy Contest</a></li><li class="field-item odd"><a href="/taxonomy/term/757" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">pedagogy</a></li></ul></section>Tue, 19 Nov 2013 05:56:53 +0000rc-admin48691 at http://www.rc.umd.eduVisualizing Grammar for Childrenhttp://www.rc.umd.edu/gallery/exhibit/illustration-through-association-the-visual-work-of-children%E2%80%99s-educational-texts-in
<section class="field field-name-field-description field-type-text-long field-label-above view-mode-fulltext"><h2 class="field-label">Description:&nbsp;</h2><div class="field-items"><div class="field-item even"><p>Though the Victorian period is often considered the Golden Age of childhood, the children’s book market was an active political and moral battleground as early as the 1770s. With Rousseau’s new theories about children and their education challenging the older but well-entrenched philosophy of Locke, children’s books—and, more specifically, their illustrations—became a central issue for those invested in the debate. At the same time, violent riots in favor of Parliamentary reform caused the aristocracy to fear the possibility of a full-scale revolution like that raging in France. This fear made social control more important than ever to the upper-class, from which most authors and publishers came. With so much change at stake, education became an essential concern, and it was vital that "proper" ideas about race, class and gender be instilled in children as early as possible. This desire to inculcate young minds with the "correct" worldview reveals itself through images that evoke multiple reactions, associating several different ideas through visual means. This gallery brings together a variety of images—from richly colored and meticulously accurate pictures to simple, stock woodcuts—in an attempt to show how children’s illustrations of the time did much more than simply provide a picture of what the text described.</p>
</div></div></section><section class="field field-name-field-credits field-type-text field-label-above view-mode-fulltext"><h2 class="field-label">Credits:&nbsp;</h2><div class="field-items"><div class="field-item even">Rebecca Grace Tarsa</div></div></section><section class="field field-name-field-images-in-exhibit field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Images in Exhibit:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/gallery/verbs">Verbs</a></div><div class="field-item odd"><a href="/gallery/verbs-adverbs">Verbs with Adverbs</a></div><div class="field-item even"><a href="/gallery/hindoo-woman-and-her-babe">The Hindoo Woman and her Babe</a></div><div class="field-item odd"><a href="/gallery/arab-scholars">Arab Scholars</a></div><div class="field-item even"><a href="/gallery/henry-kirke-white-boy">Henry Kirke White as a Boy</a></div><div class="field-item odd"><a href="/gallery/untitled-0">Untitled</a></div><div class="field-item even"><a href="/gallery/untitled">Untitled</a></div><div class="field-item odd"><a href="/gallery/invitation">The Invitation</a></div><div class="field-item even"><a href="/gallery/deaths-head-moth">The Death&#039;s Head Moth</a></div><div class="field-item odd"><a href="/gallery/industry-honesty-and-integrity">Industry, Honesty and Integrity</a></div></div></section><section class="field field-name-field-exhibit-tags field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Exhibit Tags:&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/category/tags/childrens-books" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">children&#039;s books</a></li><li class="field-item odd"><a href="/taxonomy/term/757" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">pedagogy</a></li><li class="field-item even"><a href="/category/tags/childrens-illustrations" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">children&#039;s illustrations</a></li><li class="field-item odd"><a href="/taxonomy/term/2049" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">education</a></li></ul></section><section class="field field-name-field-exhibit-icon field-type-image field-label-above view-mode-fulltext"><h2 class="field-label">Exhibit Icon:&nbsp;</h2><div class="field-items"><figure class="clearfix field-item even"><img typeof="foaf:Image" class="image-style-none" src="http://www.rc.umd.edu/sites/default/files/95d2eeb371360a8196177944d1cdd733_1.jpg" width="476" height="800" alt="" /></figure></div></section>Thu, 18 Apr 2013 17:51:17 +0000rc-admin38664 at http://www.rc.umd.eduHow to Save "Tintern Abbey" from New-Critical Pedagogy (in Three Minutes Fifty-Six Seconds)http://www.rc.umd.edu/praxis/contemporary/underwood/underwood
<div class="field field-name-field-published field-type-date field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even" property="collex:date" datatype="gYearMonth"><span class="date-display-single" property="collex:date" datatype="gYearMonth" content="2002-02-01T00:00:00-05:00">February 2002</span></div></div></div><div class="field field-name-field-resource-index field-type-entityreference field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even"><a href="/praxis/contemporary">Romanticism &amp; Contemporary Culture</a></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even" property="content:encoded"><h2 style="text-align: center">Romanticism &amp; Contemporary Culture</h2>
<h3 style="text-align: center">How to Save "Tintern Abbey" from New-Critical Pedagogy (in Three Minutes Fifty-Six Seconds)</h3>
<h4 style="text-align: center">Ted Underwood, Colby College</h4>
<ol>
<li>
<p>In this collection of essays, the pressing question raised by my title may not be "Why teach popular music?" but "Why with Wordsworth?" Almost any other Romantic writer makes more sense in this connection. Mary Shelley and Lord Byron not only contribute through their works to contemporary culture, but themselves appear as icons of the Romantic in works like <i>The Bride of Frankenstein</i> and <i>Arcadia</i>. Coleridge and Keats keep a lower contemporary profile, but are enveloped by an aura of opium and precocious death that makes it not altogether absurd to connect them to popular culture. Wordsworth, on the other hand, makes a point of his discomfort with a culture of "outrageous stimulation" (747). "Wordsworth and Rock 'n Roll" is a pairing guaranteed to highlight the risk involved in any juxtaposition of high and low culture in the classroom&#8212;which is, that it will seem simultaneously to vulgarize what ought to be pure and to intellectualize what ought to be gritty and authentic.</p>
</li>
<li>
<p>I sometimes do introduce contemporary culture in less embarrassing ways: film versions of <i>Frankenstein</i>, film versions of Austen. But I've focused here on the connection between popular music and Wordsworth because it's the one I find indispensable in the Romantic-period survey I teach every year. Film versions of novels can raise many interesting questions, but the questions they raise most insistently&#8212;about the different emphases of novelistic and filmic narrative&#8212;are tangential to my purpose in a period survey. Works of historical imagination like Stoppard's <i>Arcadia</i> or the various Byron-Shelley vampire stories, on the other hand, take "Romanticism" too directly as their subject.<a href="/praxis/contemporary/underwood/underwood.html#1"><sup>1</sup></a> In a senior seminar, it would be fascinating to discuss these authors' use of the R-word. But in the survey course, I want students' ideas about isms to coalesce only very slowly and tentatively from an acquaintance with specific works. I'm afraid that a consistent and vividly-colored caricature of "Romanticism" would prove more memorable than the inconsistency of the period itself.</p>
</li>
<li>
<p>Why, then, do I pair Wordsworth's "Tintern Abbey" with 80s and 90s rock? There are specific thematic and historical connections to be made, about which I'll say a word or two. But my real pedagogical agenda, I've come to realize, has less to do with those specific connections than it does with the fate of lyric&#8212;and perhaps especially of Wordsworthian lyric&#8212;in the classroom. I bring popular music into the period survey because I find that my students' definition of "the lyric" needs to be challenged and enlarged before they have much chance of perceiving anything lyrical about Wordsworth.</p>
</li>
<li>
<p>I teach students who have done well in high school, and know perfectly well what a lyric poem is. A lyric, as you may know, is a condensed literary form in which a single speaker explores a process of thought or feeling. It's less clear what you do with one once you recognize it. Because students read and discuss novels outside of class, they're comfortable asking questions based on their understanding of novelistic pleasure: Are the characters fully developed? Is the ending satisfying? Those questions can then lead to other, less obvious, questions. When they approach lyric poetry, students don't have the same base to start from, and so they're inclined to jump directly to the level of meaning, and beyond that, to the periodizing generalities they believe constitute "knowledge of literary history."</p>
</li>
<li>
<p>In my view, this hasty leap to periodization short-circuits the whole course. My own research is historical, and I certainly do want my students to think historically about poetry. But it's an enterprise without much content if they don't yet understand the category of experience about which they are forming generalizations.</p>
</li>
<li>
<p>My sympathies are with the students in this matter. Like most of my students, and for that matter like most of my colleagues, I didn't grow up hearing poems read out loud. I encountered written poetry mainly in the classroom, while my emotional life was braided into and constituted by a different lyric form, called "the single." Under those circumstances, it's possible to come to the conclusion that you "like poetry," without connecting that liking closely to the identificatory surprise and sense of suspended volition you feel when reciting your favorite song lyrics. One learns to look to written poetry only for kinds of lyric expression that are rare in popular culture&#8212;involving absolute negative capability, for instance, and an unconsoled engagement with human mortality. This definition of poetry (which makes it, in effect, the inverse image of popular sentimentality) works well as an introduction to some poets&#8212;say, Rilke, Rimbaud, and Keats. But it's not an especially good approach to Wordsworth. In my case, real appreciation of Wordsworth didn't come until graduate school.</p>
</li>
<li>
<p>There's a good case to be made that this delay is inevitable&#8212;that Wordsworth's apparent innocence and actual complexity make it difficult for him to reach twenty-year-old readers on the first pass. I'm thinking of Peter J. Manning's essay "On Failing to Teach Wordsworth," which makes this case with a candor and an eloquence I admire. Manning points out that a pattern of cognitive failure, followed by delayed understanding, has a certain aptness here. If our students find Wordsworth's "spots of time" opaque and unmanageable the first time they encounter them, it shouldn't surprise us: so did Wordsworth. But this needn't, of course, limit our pedagogical aspirations. J. S. Mill was 22 when "the fact of my reading Wordsworth for the first time" appeared to him "an important event in my life" (149), and&#8212;Mill's famous precocity notwithstanding&#8212;other students the same age can have the same reaction.</p>
</li>
<li>
<p>Many of the barriers to appreciation lie in learned expectations about poetry that serve Wordsworth poorly. It will surprise no one to learn that the New-Critical approach to poetry that still dominates our classroom practice enshrines certain modernist preferences as general laws. In particular, as I have already hinted, New-Critical pedagogy defines written lyric poetry as an inverse image of popular sentimentality. A poem is a free-associative subspecies of the riddle; it rigorously avoids the paraphrasable. To appreciate it is to be able to explain the relevance of each apparent non-sequitur. Doing this reveals that you are capable of fresh and authentic experience, as distinguished from the stock responses we relegate to greeting-card verse and popular music.</p>
</li>
<li>
<p>To students who have passed through this program of modernist training, the best Wordsworthian lines ("and oh, / The difference to me") often look more like greeting-card verse than they do like poetry.<a href="/praxis/contemporary/underwood/underwood.html#2"><sup>2</sup></a> Wordsworth's lyrics lack the imagistic riddle-structure they have learned to expect in written poems; by contrast, they appear sentimental and didactic. One response to this obstacle would be to compromise, and to stress the sense in which Wordsworth's poems are, after all, riddles of a psychological kind. Another would be to launch a direct assault on modernism's expansion of negative capability into a law that there are "no ideas but in things" (Williams 6). Both these responses are cogent, but given the limited space of a twelve-week semester, it occurred to me that a pedagogical shortcut might be to remind students that they already in fact enjoy&#8212;and see a discussable complexity in&#8212;rhymed ballads that don't hesitate to comment on human experience directly. By bringing popular music into the classroom, I hoped to show students that the modernist standards they impose on written poetry are not universal, while reminding them that they already have a definition of the lyric that makes as much room for eloquence and identificatory pleasure as it does for riddle-solving.</p>
</li>
<li>
<p>This was a move that made particular sense to me because the music popular in my own college years was specifically Romantic. Kate Bush did the Bront&#235;s in several voices, Pink Floyd did the "Immortality Ode,"</p>
<blockquote>When I was a child<br/>
I caught a fleeting glimpse<br/>
Out of the corner of my eye.<br/>
I turned to look but it was gone<br/>
I cannot put my finger on it now<br/>
The child is grown,<br/>
The dream is gone . . .</blockquote>
<p>and Bono fell upon the thorns of life, bled, and became the trumpet of a prophecy so simultaneously political and personal that it must have made Shelley's scattered ashes blush.<a href="/praxis/contemporary/underwood/underwood.html#3"><sup>3</sup></a></p>
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<li>
<p>The trickiest part of actually teaching these connections, I find, is to avoid a rigidly comparative subordination of contemporary texts to the Romantics that would negate the whole point of the assignment. The first time I tried this sort of thing, it came at the end of the semester, as a kind of coda. I used Peter Gabriel, "Solsbury Hill" (1977) and U2, "Where the Streets Have no Name" (1985), and asked students to compare them to Wordsworth and Shelley, respectively. But in setting up discussion, I moved much too quickly, naively expecting that the song lyrics themselves would be reasonably transparent to the students, so that we would be able to skim over the usual groundwork of interpretation and move quickly into a comparison to Romantic texts they had already read. Of course, the lyrics weren't transparent; even when the themes are Romantic, rock lyrics often move according to an associative logic more difficult to decode than Wordsworth's double negatives. The students panicked and froze, and I felt even more desolate than I do when they fail to understand Romantic texts.</p>
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<li>
<p>I was operating with the na&#239;ve assumption that popular culture is absorbed directly by the ears, and that only high culture has to be mediated through the analytic intelligence. In fact one can like a song for a long time without wondering what one likes, just as one can like "Kubla Khan" for a long time without wondering whether there are one or several speakers. This admittedly qualifies my original pedagogical rationale. I had reasoned that students already see the complexity in rock lyrics, and that it should only be necessary to connect popular culture to Romanticism in order to allow their existing proficiency in the lyric mode to spill over into the classroom. In fact, in both domains, it takes the same effort to move from uncritical to analytic appreciation. In spite of this, I think the connection remains worth making: after students are surprised by the difficulty of popular lyrics, they are much readier to believe that lyric poems can be apparently simple, actually difficult, and nevertheless enjoyable.</p>
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<li>
<p>The practical lesson I took away from my mistake was essentially this: to get the effect I want out of teaching popular culture, I have to set things up so that students perceive the text as belonging to their domain of expertise. This doesn't necessarily mean that it has to be last year's hit; there is a canonicity in popular music that immunizes certain older songs against dismissive periodization. On the other hand, it does mean that I no longer present popular music at the end of the semester and ask students to look for Romantic themes. That has two bad effects: first, it reifies Romanticism, and second, it paralyzes students who don't yet have the historical confidence to articulate significant parallels. Instead I teach popular music <i>before</i> the Romantic text I plan to link it to, and I encourage students not to worry about the historical connection just yet. I warm up the discussion the same way I would warm up any other discussion&#8212;which is to say that I begin with the sorts of questions students are likely to ask themselves about the songs. Then I try to let those questions motivate a harder question about the meaning of some contemporary lyric convention. In the next class session, I read the Romantic text as a historical answer.</p>
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<li>
<p>For instance, I recently taught Gabriel's "Solsbury Hill" (1977), Melissa Etheridge's "My Back Door" (1989), and Live's "Lightning Crashes" (1994) as a kind of introduction to "Tintern Abbey." One thing the three songs have in common with each other, and with Abrams's <i>Natural Supernaturalism</i>, is a three-part pattern of connection, loss, and return to a (now transformed) connection. This is clearest in the Etheridge song, which is a straightforward narrative, tracing a union with the world that the speaker experiences as a child, loses, and rediscovers in the form of political commitment.</p>
</li>
<li>
<p>A similar pattern is implicit, but very confusing, in "Lightning Crashes." On the narrative level, that song recounts the death of a woman and the birth of a child in the same hospital. Something passes from the dying woman to the child; it might be "a motion and a spirit, that impels / All thinking things," or it might just be "the burden of the mystery." As the song puts it, "The confusion that was here / Belongs now to the baby down the hall." The song's choruses stand at a 90-degree angle to this action; it's not clear who the speaker is, but the lack of specificity suggests that the choruses are giving a lyrical interpretation of the action rather than participating in it:</p>
<blockquote>I can feel it coming back again<br/>
Like the rollin' thunder chasing the wind<br/>
Forces pulling from the centre of the Earth again<br/>
I can feel it.</blockquote>
<p>It's important to know that the whole song is a crescendo, and that the crescendo takes place most markedly during the two choruses. This, combined with the repetition of "I can feel it," tends to suggest that what's "coming back" is not just "life," but a renewed power to feel. But the song doesn't specify when or how that feeling was lost, and it does little to explain the connection between its celebration of subjective renewal and the cycle of life and death it describes. There's only the implied link between "lightning crashes" and "rolling thunder," which vaguely suggests that one kind of renewal follows on the other.</p>
</li>
<li>
<p>Discussion ended on this perplexity. The next day, we went on to "Tintern Abbey," discussing it entirely in its own right. It's a sufficiently perplexing poem on its own. But after we had wondered why anyone would enjoy "Flying from something that he dreads," unknitted the chronology, and recognized a familiar pattern of connection, loss, and connection in a different form, I was able to say some things about the Romantic secularization of redemption narrative that received (I think) a much more attentive hearing than they would have if the students hadn't seen that Wordsworth was in the process of inventing a lyric pattern they know well. I was then almost (but not quite) able to convince them that "Lightning Crashes" is able to be vague about the connection between its cycle of life and its cycle of subjective renewal because we have "Tintern Abbey" in our blood, and half-automatically infer that the point of perceiving a spirit (or a burden of "confusion") that rolls through all things is to rediscover a (now articulate and conscious) connection to that spirit.</p>
</li>
<li>
<p>As I say, I'm not entirely sure that the students in this particular class were willing to buy the notion that Romantic lyric forms live on, unseen, in the interpretive assumptions they bring to rock and roll. But this hardly matters. My pedagogical aim was not to get them to believe that proposition, or even to believe that rock's cycles of secular redemption are inherited from what Abrams calls "the Greater Romantic Lyric." Those were the subjects we discussed, but these class sessions contributed to the semester more importantly through their unstated presupposition: that popular music and "Tintern Abbey" can offer experiences of the same order of intensity.</p>
</li>
<li>
<p>To lead students to this realization, I continue to believe an indirect approach is best. I don't preface my introduction of popular music with any apology, attack on elitism, or baptism in cultural theory; my students would rightly be suspicious of a formal argument in favor of pleasures they already know. On the other hand, prompted in part by our discussion in the Romantic Circles conference on this topic,<a href="/praxis/contemporary/underwood/underwood.html#4"><sup>4</sup></a> I am beginning to see ways this unit could logically lead <i>up to</i> a discussion of cultural theory. As I suggested at the beginning of this essay, the conjunction of Wordsworth and popular music is a strange one in part because Wordsworth himself so explicitly resists the dominant culture of his own time. By linking that culture to "the encreasing accumulation of men in cities," distinguishing it from authentically popular lyric expression, and identifying its chief defect as artificiality, Wordsworth articulates one of the earliest critiques of modern popular culture as "mass culture" (746).</p>
</li>
<li>
<p>It would make a great deal of sense, then, to move from a discussion of Wordsworthian patterns in popular music, to a discussion of Wordsworth's own embryonic theory of "mass culture." The next time I teach this material, I plan to save the "Preface" to <i>Lyrical Ballads</i> for the class immediately after our discussion of "Tintern Abbey," and I may follow it with Adorno and Horkheimer on "The Culture Industry."</p>
</li>
<li>
<p>I would like students to become conscious of Romantic cultural theory so that they can resist its unexamined presence in their thinking. I don't myself make a distinction between authentic "popular culture" and "mass culture," and I'm unpersuaded by the firm distinctions that Wordsworth and Adorno erect. Though I agree that contemporary culture is shaped by market forces, and pervaded by ideology, I don't think this state of affairs is particularly new: culture was informed by power long before the invention of the record company or the gothic drama. We do need to distinguish more and less democratic means of cultural production. But the terms of a distinction between "popular" and "mass" culture often seem to me to encourage, not pragmatic reflection on specific institutions, but nostalgia for a lost Eden where individual consciousness and the culture of the group are supposed to have coincided without mediation by any institutions at all.<a href="/praxis/contemporary/underwood/underwood.html#5"><sup>5</sup></a> I doubt that it is either possible or desirable for culture to work that way, and for that reason I approach the popular/mass distinction skeptically.</p>
</li>
<li>
<p>I'm coming to see that it is nevertheless necessary to talk about this distinction in a Romantic-period survey, because a critical examination of the idea of popular authenticity, as it appears in the "Preface," brings our discussion of the lyric full circle. I want students to challenge modernist myths about written poetry: especially the idea that all poems aspire to be "palpable and mute / As a globed fruit" (MacLeish 141). Rejecting that narrow definition permits them to bring to Wordsworth an intensely identificatory reading strategy that they associate mainly with electronic media. But in doing this, I now realize, it is equally necessary to challenge a complementary myth: the notion that truly authentic or "popular" culture is a natural secretion of the social organism, and as such is received directly by our limbic system without political or intellectual mediation. That account would describe Percy's <i>Reliques</i> as poorly as it describes a compact disc. By using popular music to dislodge modernist idealizations of high culture, and a critical reading of Wordsworth to dislodge romantic (and late-Marxist) idealizations of popular authenticity, I hope to encourage a reading of lyric that is passionate and yet clear-eyed about the social underpinnings of culture.</p>
</li>
</ol>
<div class="notesWorks">
<h4>Works Cited</h4>
<p class="hang">Abrams, M. H. "Structure and Style in the Greater Romantic Lyric." <i>The Correspondent Breeze: Essays on English Romanticism</i>. New York: W. W. Norton, 1984. 76-108.</p>
<p class="hang">Dickstein, Morris. "'The Very Culture of the Feelings': Wordsworth and Solitude." <i>The Age of William Wordsworth: Critical Essays on the Romantic Tradition</i>. Ed. Kenneth R. Johnston and Gene W. Ruoff. New Brunswick, NJ: Rutgers UP, 1987. 315-43.</p>
<p class="hang">Holland, Tom. <i>Lord of the Dead</i>. New York: Pocket, 1997.</p>
<p class="hang">Horkheimer, Max and Adorno, Theodor W. "The Culture Industry: Enlightenment as Mass Deception." <i>Dialectic of Enlightenment</i>. New York: Continuum, 1991. 120-67.</p>
<p class="hang">Live. "Lightning Crashes." <i>Throwing Copper</i>. Uni/Radioactive: 1994.</p>
<p class="hang">MacLeish, Archibald. <i>The Human Season: Selected Poems 1926-1972</i>. Boston: Houghton Mifflin, 1972.</p>
<p class="hang">Mandell, Laura. "Romanticism and Contemporary Culture: MOO Log." <i>Romantic Circles</i>. 1 February 2002. University of Maryland.<br/><a href="/sites/default/files/RCOldSite/www/villa/vc97/june00/transcriptfn.html">http://www.rc.umd.edu/villa/vc97/june00/transcriptfn.html</a></p>
<p class="hang">Manning, Peter J. "On Failing to Teach Wordsworth." <i>Approaches to Teaching Wordsworth's Poetry</i>. Ed. Spencer Hall with Jonathan Ramsey. New York: Modern Language Association of America, 1986. 39-53.</p>
<p class="hang">Melley, Timothy. <i>Empire of Conspiracy: The Culture of Paranoia in Postwar America</i>. Ithaca: Cornell UP, 2000.</p>
<p class="hang">Mill, John Stuart. <i>Collected Works</i>. Ed. John M. Robson and Jack Stillinger. Vol. 1. Toronto: U of Toronto P, 1981. 30 vols.</p>
<p class="hang">Percy, Thomas. <i>Reliques of Ancient English Poetry: Consisting of Old Heroic Ballads, Songs, and other Pieces of our Earlier Poets, Chiefly of the Lyric Kind</i>. London: J. Dodsley, 1765.</p>
<p class="hang">Pink Floyd. "Comfortably Numb." <i>The Wall</i>. Sony: 1979.</p>
<p class="hang">Powers, Tim. <i>The Stress of her Regard: A Novel</i>. New York: Ace, 1989.</p>
<p class="hang">Stein, Atara. "Achtung Emily." E-mail to the author. 13 October 1998.</p>
<p class="hang">Stoppard, Tom. <i>Arcadia</i>. London: Faber and Faber, 1993.</p>
<p class="hang">Williams, William Carlos. <i>Paterson</i>. New York: New Directions, 1992.</p>
<p class="hang">Wordsworth, William. <i>Lyrical Ballads and Other Poems 1797-1800</i>. Ed. James Butler and Karen Green. Ithaca: Cornell UP, 1992.</p>
</div>
<div class="notesWorks">
<h4>Notes</h4>
<p class="indent"><sup><a name="1"> </a>1</sup> In addition to Stoppard, see Powers, <i>The Stress of her Regard: A Novel</i> and Holland, <i>Lord of the Dead</i>.<br/></p>
<p class="indent"><sup><a name="2"> </a>2</sup> Morris Dickstein gives an excellent reading of this line's simplicity and difficulty in "'The Very Culture of the Feelings': Wordsworth and Solitude."<br/></p>
<p class="indent"><sup><a name="3"> </a>3</sup> Atara Stein's "Achtung Emily," a compilation of interlaced excerpts from U2's <i>Achtung Baby</i> and Shelley's "Epipsychidion," helped me realize how very close the comparison is.<br/></p>
<p class="indent"><sup><a name="4"> </a>4</sup> Especially <a href="/sites/default/files/RCOldSite/www/villa/vc97/june00/transcriptfn.html">Laura Mandell's comments from the MOO discussion</a> in the Villa Diodati.<br/></p>
<p class="indent"><sup><a name="5"> </a>5</sup> My skepticism here is analogous to Timothy Melley's skepticism about the contemporary conspiracy-theory thriller. Conspiracy theory, in Melley's view, can usefully draw our attention to the monopolization of power and knowledge by elites. But when it stages a sharply-drawn distinction between "individual agency" and "controlling organizations," it also promulgates a misleading fantasy of absolute autonomy (7-16). I would propose that the concept of "mass culture" itself is useful, and misleading, in these same ways.<br/></p>
</div></div></div></div><section class="field field-name-field-authored-by-secondary- field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Authored by (Secondary):&nbsp;</h2><div class="field-items"><div class="field-item even" rel="role:AUT"><a href="/person/underwood-ted">Underwood, Ted</a></div></div></section><section class="field field-name-field-parent-section field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Section:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/node/31532">Praxis Series</a></div></div></section><section class="field field-name-taxonomy-vocabulary-3 field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Tags:&nbsp;</h2><ul class="field-items"><li class="field-item even" rel="dc:subject"><a href="/category/person/william-wordsworth-0" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">William Wordsworth</a></li><li class="field-item odd" rel="dc:subject"><a href="/taxonomy/term/1060" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">lyric</a></li><li class="field-item even" rel="dc:subject"><a href="/taxonomy/term/1061" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">teaching poetry</a></li><li class="field-item odd" rel="dc:subject"><a href="/taxonomy/term/757" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">pedagogy</a></li><li class="field-item even" rel="dc:subject"><a href="/taxonomy/term/1062" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">identification</a></li><li class="field-item odd" rel="dc:subject"><a href="/category/person/tintern-abbey" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Tintern Abbey</a></li><li class="field-item even" rel="dc:subject"><a href="/taxonomy/term/1064" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">popular music</a></li><li class="field-item odd" rel="dc:subject"><a href="/taxonomy/term/1065" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Pink Floyd</a></li><li class="field-item even" rel="dc:subject"><a href="/category/title/comfortably-numb" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Comfortably Numb</a></li><li class="field-item odd" rel="dc:subject"><a href="/taxonomy/term/1067" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Live</a></li><li class="field-item even" rel="dc:subject"><a href="/taxonomy/term/1068" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Lightning Crashes</a></li><li class="field-item odd" rel="dc:subject"><a href="/taxonomy/term/1069" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">mass culture</a></li><li class="field-item even" rel="dc:subject"><a href="/category/person/theodor-adorno" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Theodor Adorno</a></li><li class="field-item odd" rel="dc:subject"><a href="/taxonomy/term/1001" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">popular culture</a></li><li class="field-item even" rel="dc:subject"><a href="/taxonomy/term/856" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">New Criticism</a></li><li class="field-item odd" rel="dc:subject"><a href="/taxonomy/term/1071" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">imagism</a></li><li class="field-item even" rel="dc:subject"><a href="/taxonomy/term/1072" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">rock and roll</a></li></ul></section><section class="field field-name-field-nines-discipline-s- field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">NINES Discipline(s):&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/category/nines-discipline/literature" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Literature</a></li></ul></section><section class="field field-name-field-nines-type-s- field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">NINES Type(s):&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/category/nines-type/typescript" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Typescript</a></li></ul></section>Thu, 13 Sep 2012 04:21:41 +0000rc-admin31737 at http://www.rc.umd.eduThe Picturesque and the Kodak Momenthttp://www.rc.umd.edu/praxis/contemporary/broglio/broglio
<div class="field field-name-field-published field-type-date field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even" property="collex:date" datatype="gYearMonth"><span class="date-display-single" property="collex:date" datatype="gYearMonth" content="2002-02-01T00:00:00-05:00">February 2002</span></div></div></div><div class="field field-name-field-resource-index field-type-entityreference field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even"><a href="/praxis/contemporary">Romanticism &amp; Contemporary Culture</a></div></div></div><div class="field field-name-body field-type-text-with-summary field-label-hidden view-mode-fulltext"><div class="field-items"><div class="field-item even" property="content:encoded"><!--Couldn't selectively extract content, Imported Full Body :( May need to used a more carefully tuned import template.-->
<h2 style="text-align: center">Romanticism &amp; Contemporary Culture</h2>
<h3 style="text-align: center">The Picturesque and the Kodak Moment</h3>
<h4 style="text-align: center">Ron Broglio, Georgia Tech<br/></h4>
<ol>
<li>
<p>Technology informs the construction of subjectivity. In Gilpin&#8217;s reference to the camera obscura, human sight takes as its model mechanical projection: "The imagination becomes a camera obscura, only with this difference, that the camera represents objects as they really are; while the imagination, impressed with the most beautiful scenes, and chastened by rules of art, forms its pictures, not from the most admirable parts of nature; but in the best taste" (<i>Three Essays</i> 52). As Martin Jay has points out in <i>Downcast Eyes</i>, sight is a privileged epistemological tool . Our way of seeing and thinking about the world around us is informed by the camera obscura and its historical derivative, the camera. These machines define the position of the interiorized observer to the outside world (Crary Chapter 2).&#160; By setting landscape aesthetics next to the aesthetics of Kodak, I want students to explore how the camera works in relation to the picturesque.&#160; My hope is that they discover some basic assumptions about how observers in the 19th century and the present represent their relationship to the world. The dominant way of seeing both then and now is what Jay calls "Cartesian perspectivalism," a method of perception that represents space and the subjects and objects in that space according to the rules of Euclidean geometry. Developing the historical relationship between optics, the picturesque, and the camera de-naturalizes the Cartesian scopic regime. By disturbing the relationship between sight and truth, including the picture as a true representation and tour guides as accurate documents of places, students can begin thinking of other modes of representing place and experience.</p>
</li>
<li>
<p>In my "Optics and Aesthetics" course, during the first half of the semester I work with students to help them understand Cartesian perspectivalism. The class reads sections of Descartes&#8217;s <i>Optics</i> with Jonathan Crary&#8217;s commentaries from <i>Techniques of the Observer</i>, then turns to Burke, Gilpin, and various Romantic works that incorporate the picturesque. As a mid-term project, students <a href="/praxis/contemporary/broglio/broglio_kodak.html">compare and contrast</a> the picturesque with Kodak&#8217;s web site on how to take pictures. They then go into the field and take "picturesque" snapshots according to the guidelines set out by Kodak and by the picturesque aesthetic. They put these photos online with commentaries on each and with links to passages from authors we have studied. The second half of the semester is spent working on a phenomenological critique of the way of seeing established in the first half of the course. In class, we look at how new media, particularly the web and MOO, reconfigures our representations of space. As a final project, students add to their picturesque web site other decidedly non-picturesque photos of the same spot with an eye toward other ways of providing a "feel" for the place. Additionally, we discuss web page designs and site architecture that facilitate their non-picturesque representations.</p>
</li>
<li>
<p>Using the web and MOO to discuss landscapes adds a new dimension to understanding representation of place.&#160; I ask students to take snapshots of a place and then have them use the photos in a group of web pages designed to represent that space.&#160; Having students build web pages that in their form suggest the ideas from the content of their argument leads students to engage the problem of constructing representational spaces.&#160; The images, font, background color, links and word choice all become part of their attempt to convey the "genius of the place."&#160; As students produce their own representation or "virtual guide" to a place, they begin to ask different questions about the authors we've studied. To represent place they must model their writing according to the abstract discourse of Gilpin or the intimate journals of Dorothy Wordsworth, or they may use both discourses and set them against each other in a series of web pages.&#160; As they construct image and text in their sites, they look at the way Gilpin uses illustrations in his tour guide, and they reconsider Constable's letters about his paintings.</p>
</li>
<li>
<p>Importantly, the words and images used as links between pages become a part of the argument since the reader is asked to construct the relationship between the two pages via the connecting link.&#160; In the logic of linking pages, what words and images should provide portals to other aspects of a landscape?&#160; The dizzying connections Wordsworth makes in his Snowdon passage from <i>The Prelude</i> invite students to think about how to link disparate elements in a landscape we half see and half create. In contrast, the methodical categories of Gilpin's and Wordsworth's tour guides provide other ways of moving through space.&#160; My hope is that through their own creative project, students will discover how the epistemologies that inform the landscape aesthetic of the Romantic period effect the way writers and artists of the period both saw and presented the land.&#160; By having students use cameras to capture images of the land they have chosen to represent, I am asking them to work within the same mechanical optics that dominated much of landscape aesthetics.&#160; Of course, as they place these images on web pages, the shift in representational medium allows students the possibility of breaking out of Cartesian perspectivalism as a model for mediation between viewer and object viewed.</p>
</li>
<li>
<p>In addition to web pages, students visit MOO rooms to develop a sense of space. (See <a href="http://www.lcc.gatech.edu/%7Ebroglio/1101/How-to-MOO-Valley.html">student instructions</a>.)&#160; The MOO is a non-space; that is, there is no "space" other than a screen with words and, perhaps, some images.&#160; Yet, depending on the words used to describe the MOO "room" students act differently in each place.&#160; After logging and discussing MOO landscapes in Villa Diodati, I ask students what verbal cues caused them to react the way they did to the space.&#160; The result is a discussion about the role of text and the role of imagination in creating space.&#160; Such a discussion enables them to see Romantic texts in a new light.&#160; The interaction in the MOO helps defamiliarize the act of reading landscape texts and allows for new interpretive strategies in reading.&#160; They begin asking what is the role of proper nouns that are embodied as objects in the MOO room? What is the movement of the narrator throught the space? What verbs predominate? What descriptive words caused me as a MOO character to act differently in the room than the narrator in the poem? Additionally, the MOO players see slight differences in the room, and each player acts on these differences through the MOO conversation.&#160; "Seeing" or reading and imagining differences provides a classroom discussion concerning what we assume about nature and how to act in nature.&#160; Some students treat the MOO room as a utopic nature place.&#160; Others treat the space with suspicion or even contempt, preferring a narrative poem with its familiar cues or finding a digital and textual representation of nature to be absurd.&#160; Such moments are important for understanding how mediation&#8212;be it paper or digital&#8212;effects representation of place and how any description creates a "virtual" world.</p>
</li>
<li>
<p>Often, students who consider themselves poor readers but quite skilled in computers (which includes a disproportionately large number of students at Georgia Tech where I teach) find themselves drawn into the problems of representing space as they begin playing with their hypertext documents. They debate on how to best represent the land and what discourse best represents their <i>experience</i> of interacting with the land. The overarching question becomes, "How can I make the land into a landscape and what price do I pay for such a representation?" While I have not tried this approach, such moments seem ripe for exploring issues laid out in Heidegger's "The Question Concerning Technology" and treatments of nature developed by eco-criticism and Green Romanticism. Admittedly, a good deal of class time gets diverted from the study of Romantic texts, and the class's detailed reading of a select few texts leaves little time for a broad coverage of the period; however, I find the questions raised in class and the engagement of the students in their projects to be more important and more far reaching than I am able to accomplish with a wider range of the period texts.</p>
</li>
<li>
<p>While landscape aesthetics circa 1800 seems quite distant and inaccessible to most students, taking pictures with a disposable camera is rather commonplace. By allowing students to explore Romantic texts through a contemporary "lens," students find the texts more approachable. They have little problem talking about their experiences and their photography. Eventually this freedom of discussion transfers to their discussion of Romantic texts. Then, as I ask them to discuss their photos <a href="/praxis/contemporary/broglio/broglio_kodak.html">in relation to the Romantic texts</a>, the task seems less daunting. Kodak and landscapes are not a perfect fit&#8212;nor should they be. The differences are important for putting the two cultures and activities in context. For example, good taste is a cue for class and education in landscape aesthetics. Photography in the late 1800s had similar class, education, and gender distinctions, but by the 1900s this gradually fades, making photography simple and accessible to virtually everyone (West Chapter 2). I use Kodak and the picturesque as a starting place for <a href="http://www.lcc.gatech.edu/%7Ebroglio/1102/camera_eye.html">beginning the conversation</a> by which the students' culture and the Romantics' culture can speak to one another. In this conversation, students bring as much to the class with their opinions about photography and sense of place as I do in presenting them with Romantic texts. By the end of the semester, their sense of what a photo is and does gets placed within a much larger conceptual field of representation from landscapes of the 1800s to digital technology of 2000. Conversely, Romantic texts become for the students not simply historical moments of seeing but a vantage point to explore concerns over optical perceptions still vital to us today.</p>
</li>
</ol>
<div class="notesWorks">
<h4>Notes</h4>
<p class="hang">Bolter, Jay, and Richard Grusin. <i>Remediations</i>. Cambridge, Mass.: MIT Press, 1999.</p>
<p class="hang">Burke, Edmund. <i>A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful</i>. 1757. New York: Penguin, 1999.</p>
<p class="hang">Crarey, Jonathan. <i>Techniques of the Observer</i>. Cambridge, MA: MIT Press. 1992.</p>
<p class="hang">Galassi, Peter. <i>Before Photography</i>. New York: Museum of Modern Art, 1981.</p>
<p class="hang">Gilpin, William. <i>Observations on Cumberland and Westmoreland</i>. 1786. New York: Woodstock Books, 1996.</p>
<p class="hang">---. <i>Three Essays on the Picturesque</i>. 1792. Ann Arbor, MI: University Microfilms, 1983.</p>
<p class="hang">Gray, Thomas. <i>Correspondence of Thomas Gray</i>. Vol. 2 Ed. Paget Toynbee and Leonard Whibley. Oxford: Clarendon Press, 1935.</p>
<p class="hang"><i>Kodak Web Site</i>. 27 Sept. 2000. &lt;<a href="http://www.kodak.com/">www.kodak.com</a>.&gt;</p>
<p class="hang">Merleau-Ponty, Maurice. <i>Sense and Non-sense</i>. Evanston, IL: Northwestern UP, 1964.</p>
<p class="hang"><i>---. The Visible and the Invisible</i>. Evanston, IL: Northwestern UP, 1968.</p>
<p class="hang">Panofsky, Erwin. <i>Perspective as Symbolic Form</i>. New York: Zone Books; Cambridge, MA: Distributed by MIT Press, 1997, 1991.</p>
<p class="hang">West, Nancy Martha. <i>Kodak and the Lens of Nostalgia</i>. Charlottesville: UP Virginia, 2000.</p>
</div>
</div></div></div><section class="field field-name-field-authored-by-secondary- field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Authored by (Secondary):&nbsp;</h2><div class="field-items"><div class="field-item even" rel="role:AUT"><a href="/person/broglio-ron">Broglio, Ron</a></div></div></section><section class="field field-name-field-parent-section field-type-entityreference field-label-above view-mode-fulltext"><h2 class="field-label">Parent Section:&nbsp;</h2><div class="field-items"><div class="field-item even"><a href="/node/31532">Praxis Series</a></div></div></section><section class="field field-name-taxonomy-vocabulary-3 field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">Tags:&nbsp;</h2><ul class="field-items"><li class="field-item even" rel="dc:subject"><a href="/category/person/william-gilpin" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">William Gilpin</a></li><li class="field-item odd" rel="dc:subject"><a href="/category/person/edmund-burke" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Edmund Burke</a></li><li class="field-item even" rel="dc:subject"><a href="/category/person/martin-jay" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Martin Jay</a></li><li class="field-item odd" rel="dc:subject"><a href="/category/person/descartes" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Descartes</a></li><li class="field-item even" rel="dc:subject"><a href="/taxonomy/term/996" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">optics</a></li><li class="field-item odd" rel="dc:subject"><a href="/taxonomy/term/997" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">picturesque</a></li><li class="field-item even" rel="dc:subject"><a href="/taxonomy/term/998" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Kodak</a></li><li class="field-item odd" rel="dc:subject"><a href="/taxonomy/term/999" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">MOO</a></li><li class="field-item even" rel="dc:subject"><a href="/taxonomy/term/1000" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">web design</a></li><li class="field-item odd" rel="dc:subject"><a href="/taxonomy/term/757" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">pedagogy</a></li><li class="field-item even" rel="dc:subject"><a href="/taxonomy/term/1001" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">popular culture</a></li><li class="field-item odd" rel="dc:subject"><a href="/category/person/thomas-gray-0" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Thomas Gray</a></li></ul></section><section class="field field-name-field-nines-discipline-s- field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">NINES Discipline(s):&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/category/nines-discipline/literature" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Literature</a></li></ul></section><section class="field field-name-field-nines-type-s- field-type-taxonomy-term-reference field-label-above view-mode-fulltext"><h2 class="field-label">NINES Type(s):&nbsp;</h2><ul class="field-items"><li class="field-item even"><a href="/category/nines-type/typescript" typeof="skos:Concept" property="rdfs:label skos:prefLabel" datatype="">Typescript</a></li></ul></section>Thu, 13 Sep 2012 04:21:18 +0000rc-admin31722 at http://www.rc.umd.edu